In the year 2000 Cracow along with eight other cities, Avignon, Bergen,
Bologna, Brussels, Helsinki, Prague, Reykjavik, and Santiago de
Compostela, will be carrying the distinguished title of European City of
Culture.
The keyword to the programme of the Cracow 2000 Festival, which we have been carrying out since 1996, is Spirituality, a particularly important value in Cracow, city of art and scholarship.
The Codex Calixtinus
commands a special place among our musical events. It reminds us of the
signal role of the city associated with the cult of St. James, which
has been of crucial significance in the development of European
spirituality. Pope John Paul II announced this in his European Act.
UNESCO endowed Santiago de Compostela with the title of City of World
Heritage; while the Council of Europe invested the Compostela Road with
the first title of European Road of Culture.
It is no coincidence that the Codex Calixtinus will be first performed for the opening of the Cracow 2000 Festival.
We are looking towards the principal part in the spiritual inheritance
of European culture of the second millennium, Christianity, which brings
with it not only religious but also cultural values and which has been
an inexhaustible source of inspiration.
The performance of the liturgy of the Codex Calixtinus
in six cities also harks back to the European tradition of pilgrimage, a
journey in the spiritual sense, the symbol of which is the pilgrimage
to Santiago, making medieval Europe, with its common tongue, Latin,
relish and nurture the same intellectual and artistic values.
This
recording was made in Cracow in March 2000, documenting the
extraordinary event, giving a fuller insight into the beauty of the
music, and an opportunity to experience the spiritual values it carries.
Bogusław Sonik
Director of the Cracow 2000 Festival
The
work to reconstruct this Mass and find a method for its performance
took nearly two years. The tradition of church singing in Catholic
Europe turned out to be too frail, exposed to too many crises, reforms,
and influences that had weakened the connections between its archaic
roots, to have preserved intact this priceless heritage which went back
to the first centuries of Christianity. After all the ages the tunes,
which had originally been passed down vocally but were later copied, had
come down to us in a written form. This gave us only a rather vague
idea for performance. We had to reconstruct all the remaining components
— the rhythm, the ornaments, scales, the way the voices should sound —
if we were to achieve a uniform quality throughout, in the spirit of the
liturgy.
Thanks to the favour of José María Díaz Fernández, the
Cathedral's Archivist and Custodian, we were able to study the original
manuscript preserved in Santiago de Compostela. In the Coptic Monastery
of Al-Sourian we rediscovered the dramatic structure of the liturgical
cycle — with its single rhythm, a pulsation binding gestures, voices,
steps, and genuflections — which had been lost in the West. In Corsica
through the assistance of the island's singers we searched for the
ornamentations for the melody; and in Greece we looked for the monody of
the ancient scales and for the richness of the sound for the voices.
This recording presents the fruit of our endeavours.
Maciej Kaziński
Deviser of the Codex Calixtinus Project
The Codex Calixtinus and its music
This
manuscript is extremely valuable historically and in music. It presents
evidence of the deep cult of St. James of Compostela, at the same time
showing the sophistication of the music that was performed at one of the
chief pilgrimage churches in medieval Europe.
The pages of the
manuscript carry a rich and varied repertoire of music, revealing the
profuse growth of European religious music in the 12th century. The
repertoire involves not only monodic liturgical works in honour of St.
James (the music for singing during the ordinary and proper parts of the
masses, and for the offices). But it also mirrors the process whereby
choral monody itself was enriched and given a specific ornamentation,
while the musical accompaniments of church ceremonies, intended to endow
the liturgy with a special splendour, were elaborated into the
characteristic features marking the musical arts of those times. This
process ensued through the application of tropes — the addition of new
texts and/or melodies — to the sung liturgy, the introduction of monodic
compositions, paraliturgical religious works such as the conducti and sequences, and the intermission of polyphonic (organum) passages, regarded as the most important element in the Codex from the point of view of the development path music would take.
The polyphonic repertoire in the Codex Calixtinus is diversified generically, and comprises 21 two-voice organa belonging to two fundamental groups. They include the following religious and paraliturgical compositions: conducti (viz, compositions with religious strophic texts of an unspecified liturgical function, also known as versus); the tropes for the Benedicamus Domino; an untroped Benedicamus Domino; a troped Kyrie; the prosa for the responsorium;
and polyphonic arrangements for selected responsorial chants such as
the Graduals and Alleluias for the Masses for the Feast of St. James,
and the responsoria for other services (e.g. matins).
Significantly, polyphony in the responsorial chanting has been
interpolated in much of the liturgical music, but accounts for only
small sections of the choral parts for solo performance. Thus the
responsorial chanting is featured by an alternation of the polyphonic
sections for solo performance and the univocal parts for choral
performance. The generic diversity in the polyphonic music of the Codex Calixtinus is paralleled by the stylistic variety in its organa. In general, in the arrangements of the poetic texts of the conducti, the troped Benedicamus Domino
and other troped compositions we may observe a tendency to use a simple
contrapuntal style. In the untroped arrangements of the Benedicamus Domino
and responsorial chants there is a tendency to apply an ornamented
melismatic style. However, the occurrence of such trends should not
obfuscate one of the special attributes of many polyphonic compositions,
that is the subtle gradation between the simple and ornamented style,
or the combination of these two styles within the framework of a single
composition. This is what happens in the famous Congaudeant catholici, a trope to the Benedicamus Domino with a strophic structure and a refrain which until recently was regarded as the oldest specimen of a three-voice organum
in the history of West European music. At the same time the diversity
of the contrapuntal style in the polyphonic music is associated with a
high level of melodic coherence in these compositions, which share the
same set of motivic formulae ornamenting the consonantal framework of
the harmony. This is a feature of the local specifics of the repertoire,
no doubt also disclosing some of the individual traits in the practice
of improvisation in performance.
Although the thematic connection between the musical repertoire in the Codex Calixtinus
and the church ceremonies which were conducted at Santiago de
Compostela appears self-evident, the exact determination of its
provenience is a complex question. This is true especially of its
polyphonic compositions, which show both a connection with the book's
monodic pieces, and have clearly also been influenced by the French
music. On the one hand all the responsorial chants arranged as organa
also occur in monodic versions in the liturgy of St. James, which means
that they were composed especially for the celebrations at Compostela.
But on the other hand the Codex shows a concordance with the sources for
the St. Martial polyphony of Limoges (the southern part of Central
France); it contains compositions which are analogous to French
counterparts in terms of genre (conducti corresponding to versus), and style (the adjacency of simple and ornamented contrapuntal styles). They also exhibit analogous paleographic features (neumata of the Aquitaine type).
These
circumstances, along with the information on the folio preceding the
polyphonic works, that the manuscript was made in the Benedictine Abbey
at Cluny suggest that the Book of St. James was probably compiled in
Central France, in a milieu susceptible to the impact of the renowned
school of St. Martial. The polyphonic repertoire in the Codex also shows
stylistic links with the music of Northern France. Another feature
shared by compositions in the Codex Calixtinus and French music
(e.g. from Chartres and Paris) is the occurrence of arrangements of
responsorial chants which consist of solo choral parts only. It is
believed that Congaudeant catholici was composed by Master
Albertus Stamopensis Precentor Parisiensis. The musical setting of this
work has the features of the polyphony characteristic of
mid-12th-century Paris, from the period immediately preceding the work
of Master Leonine (fl. c.1160-1180), the first composer known by name
who worked at Notre Dame in Paris, which incidentally was on the
pilgrimage route for Compostela, and the west door of which was even
called "La porte St. Jacques".
Zofia Dobrzańska
Jagiellonian University
Codex Calixtinus
Artístic Director: Damien Poisblaud
Performers:
Damien Poisblaud
Christian Barrier
Marcin Bornus-Szczyciński
Robert Pożarski
Frédéric Richard
Frédéric Tavernier
Choir of the Filharmonia Krakowska, conducted by Jacek Mentel
The peal of the bells of Skałka Church, Cracow has been used in this recording.
Recorded by Dux en in St. Catherine's Church, Cracow, in March 2000.
Produced by Bureau Kraków 2000
Latin editor — Michał Koss
Translation into English — Teresa Bałuk-Ulewiczowa, Piotr Krasnowolski
Cover design — Władysław Pluta
Graphic layout — Ewa Tarnawska
Manager of the edition — Dorota Strojnowska
Recorded by Dux Recording
Sound engeneering — Małgorzata Polańska, Lech Tołwiński
Digital editing — Marcin Domżał
Editor — Biuro Krakow 2000
Damien Poisblaud
Damien
Poisblaud (born in 1961) is a choirmaster and vocalist. He specialises
in a Christian liturgical repertoire, has conducted manuscript studies
and performs Gregorian chant. In 1989 he recorded a CD in the Thoronet
Abbey, France. In 1990 he founded Choeur Gregorien de Méditerranée,
which has performed numerous concerts. Holder of the prestigious
Diapason d'Or prize. Member of the Ensemble Oragnum. In 1998 he founded
Les Paraphonistes, for nineteenth-century church music. With this
ensemble he has recorded a CD with Gregorian chant. Art director of the
Codex Calixtinus project.
Christian Barrier
His
career started in the 1980's, when he joined the movement for the
revival of Baroque music in France. He extended his repertoire as a
member of the Choeur Grégorien de Paris, and later joined the Ensemble
Organum, taking part in a stage production of the medieval liturgical
drama entitled Jeu des Pèlerins d'Emaus. He has contributed to numerous
recordings of church music such as Gregorian chant and Cistercian music,
early polyphony and Baroque choral. Alongside his classical and
contemporary repertoire, Barrier also performs early and Baroque music,
working on a regular basis with a variety of groups. He is also a member
of the Kedroff vocal group for Russian Orthodox liturgical music.
Marcin Bornus-Szczyciński
Marcin
Bornus-Szczyciński was a student of Karolina Zachwatowicz, William
Christie, and René Jacobs. A counter-tenor vocalist performing
Renaissance and Baroque music, and leading the Bornus Consort ensemble
which specialises in Polish 16th- and 17th-century polyphony, he has now
turned his interests to the earliest music forms, especially monody.
Currently his principal objective is the discovery, invigoration, and
dissemination of various local traditions in music. He takes classes in
Gregorian chant in the Dominican Theological College of Cracow. He is
working on a project for the reconstruction of medieval Dominican choral
music.
Robert Pożarski
Robert
Po#380;arski was born in 1965 into a family of musicians. He has trained in
early music and in the leading of vocal ensembles, under the guidance
of Marcel Pérès. Co-founder of the Schola Cantorum founded in 1988 for
the church chanters of the Warsaw Metropolitan Seminary. He has
registered two medieval monastic offices. Since 1996 he has been a
member of Bornus Consort. He is also a member of the vocal ensemble of a
rural theatre known as Teatr Wiejski Węgajty, which is involved in the
reconstruction of medieval liturgical plays. His repertoire also
includes Baroque and contemporary music.
Frédéric Richard
Since
his graduation from the Rheims Conservatory, Frédéric Richard has been
involved with the performance of early music. He is a master performer
on early instruments, and he has played with the Ensemble Guillaume de
Machaut. He has taken part in numerous concerts in and outside France.
He also took classes in flute and descant recorder as principal of a
music school in Rheims, and later in a music, dance, and drama
conservatory near Paris. He gives concerts as a flautist and vocalist
with the Ensemble Organum and Les Paraphonistes. He also works with Il
Seminario Musicale, which is led by Gérard Lesne, and transcribes
unpublished 17th- and 18th-century manuscripts. He has composed a
lyrical fantasy.
Frédéric Tavernier
Doctor
of Philosophy1986. Studied Byzantine liturgy under the direction of
Lycourgos Angeopoulos, graduating in 1998 from the Athens Conservatory
with a state diploma in the vocal arts. As a child (1971-75), Frédéric
Tavernier sang in the Ste Marie d'Antony Boys' Choir, and studied the
oboe. Under the direction of Philippe Pélissier he conducted a study of
Gregorian chant, and next turned to a study of Byzantine music. In the
same period he also sang with an ensemble for Hungarian Gypsy music. He
is a member of the Organum Ensemble and has contributed to programmes
about Jerusalem from a liturgical perspective, the Templars, the Songs
of the Mozarabs, and Ancient Rome.
El Coro de la Filarmónica de Cracovia
The
Choir of the Filharmonia Krakowska was founded in 1945. Hitherto it has
performed in 1,700 concerts, 300 of which were abroad. Its performs a
repertoire of works from early music to music by contemporary Polish
composers, such as Górecki, Penderecki, and Palester. The Choir has
accompanied numerous European orchestras, such as the Wiener
Symphoniker, and the Beethovenhalle Orchester. It has taken part in
nearly 40 European festivals. It contributed the music for the
Re-Unification of Germany (1990), and the 50th Anniversary Commemoration
of the Liberation of Auschwitz (1995). The Choir specialises in
monumental oratorios; it also has opera and Avant-Garde music in its
repertoire.
Jacek Mentel
Jacek
Mentel was born in Zabrze in 1962. He went to music school in Gliwice,
where he specialised in the piano, and later studied Conducting at the
Cracow Academy of Music in the class of Jerzy Katlewicz. His work with
the Filharmonia Krakowska started when he was still a student. He is the
conductor and manager of the Mixed Choir. He has participated with this
choir in numerous festivals in Poland and abroad. He also teaches and
lectures in Conducting at the Faculty of Composition, Conducting, and
Theory of Music in the Cracow Academy of Music; and conducts the
students' symphony orchestra in that college.
REYKIAVIK
Reykjavik,
is a city where nature and culture coexist in perfect harmony: that is
why Nature and Culture are the central motto of the celebration of the
year 2000. The programme consists of 200 events; some are intended for
large audiences, others for small, and often make reference to nature.
The programme also includes items in co-operation with environmental
organisations, and a number of projects which employ natural forces. New
technology and environmental awareness have helped to harness the
primeval elements of Iceland where nature and culture now coexist in
true harmony. Reykjavik culture is characterised by the intense degree
of active public involvement in artistic projects and general cultural
activity.
The European City of Culture celebration started on 29th
January, 2000. The central events include the Festival of Fire, Culture
and Youth, A la Mode Eskimo (a September multimedia fashion show in a
swimming pool), Festival of Wind Harps (sculptures moved and played by
wind will be placed around the city), and other events. There will also
be the Festival of 19th-Century, Contemporary and Future Music of
Iceland, and concerts by Bjork, the highlight of Voices of Europe — a
joint project of European Cities of Culture 2000. Another joint project
is Baldur: a ballet based on Norse mythology, to be produced in Bergen
and Helsinki. There is also the Force of Light: an exhibition from
Helsinki with all kinds of lighting techniques, from candles to street
lights and laser-shows. As Iceland is surrounded by the sea, living by
the sea has become the theme of Life on the North Atlantic, a joint
project of Reykjavik, Bergen and Santiago de Compostela.
SANTIAGO DE COMPOSTELA
Santiago
de Compostela has been listed by UNESCO as part of World Culture
Heritage; it is a culture enclave of exceptional significance, and a
place where artists from all over the world meet.
Goethe said that the idea of Europe was born during the pilgrimages to Compostela.
Whether one agrees or not, it would be difficult to refute Santiago's
claim to be an eclectic blend of virtually all the historical European
perceptions of culture. Medieval Santiago is intersected by modern
transport routes and features architecture representing all styles. The
style of life, history, and legends prove how easy it has been to
assimilate and integrate in the city. A walk in the streets of Santiago
means walking in paths human culture has trodden since the 9th century.
The Old Town is one of the best preserved in the world, and the city is a
model combination of the traditional with the modern.
The events of the year 2000 have been designed to follow Santiago's motto: Europa Mundi. The goal of this huge project is to define the relations between the cultures of Europe and those of the rest of the world.
Among those worth special attention, there are Reflection and Debate, a series of discussions; Open Music: a grand festival of music; and Festival of Europe, World Festival: a spectacular carnival of folk music and merrymaking in the streets. Faces of the World, a cartographic exhibition, is a joint project by Santiago, Helsinki, Reykjavik, Cracow, and Avignon; while the Faces of Gods
exhibition is devoted to images of worshipped Beings. An event of a
wholly different character will be the ARCEUNet, a virtual museum making
access to works of art and culture easier.
CRACOW
Cracow,
a European City of Culture of the year 2000, draws its unique ability
to combine elements that promote its constant, especially spiritual,
growth. Lying in the heart of Europe and thoroughly Polish, the city of
Cracow has always given refuge to the representatives of other cultures.
The ancient capital of Poland and the seat of royal power, Cracow is
mindful of its past. Many an artist has chosen to live here, adding to
the colourful web of the city's cultural life. Cracow is the city of two
Nobel prize holders, Wisława Szymborska and Czesław Miłosz, and of the
winner of the Oscar, Andrzej Wajda. That is why the city's motto is Thought—Spirituality — Creativity.
The
city is the oldest and dynamic academic centre in Poland. Its
Jagiellonian University was the alma mater of Nicolaus Copernicus. Since
1996 the Cracow 2000 Festival has been presenting the city's unique
features. The Tadeusz Kantor and Stanisław Wyspiański Festivals are
devoted to its great artists, the Wawel 1000 —2000 Exhibition is an event bringing together the dispersed material heritage of Wawel. The Treasures of St Francis Exhibition will let us see the otherwise inaccessible works of art stored in the Franciscan Priory, while the Power of Custom
shows the life of Cracow's erstwhile Jewish community. The variety of
Cracovian culture is manifested in events as diverse as the Festival of
Jewish Culture, and the Midsummer Garland Festival, a local pageant
dating back to pagan days.
Codex Calixtinus, a fragment of the
liturgy for the feast of St James reconstructed by a Polish
musicologist, shows the strong influence of the European tradition on
Cracow; so do the Ludwig van Beethoven Easter Festival, the Cracow Drama
Reminiscences, and the Street Theatre Festival.
PRAGUE
How can we present Prague in the year 2000? The title of European City of Culture can have many meanings.
Maybe
the best form of presentation would be some kind of tremendous festival
of art. It might also be important to highlight important changes in
the socio-cultural structure of the city. We might want to increase the
number of tourists in the city by 50% or to have more theatres, or
operettas, or more pedestrian zones or monuments. Street theatre,
stalls, markets, housing estates, conferences, monuments, concerts and
pubs — they all add to the culture of the city.
All these questions
had to be addressed by the team of people who created Prague's European
City of Culture 2000 programme. They work in a city with a thousand
years of tradition behind it, and with huge cultural potential; in a
city visited by crowds of tourists. In such an environment it is not
easy to create a distinctive programme. We have tried, therefore, to
find a balance between elements that the spirit of Prague has made
permanent in cultural life or that we would like to highlight as
long-term future trends, and elements that will contribute to the unique
atmosphere of Prague only once, in this coming year at the turn of the
millennium.
HELSINKI
Georg
Dolivo, the director of the City of Culture Foundation set two tasks
for the city: to give the townspeople enhanced quality of life and to
increase the international awareness of Finnish culture. Among the
themes of the celebration, there will also be the sea and nature.
The central points of the programme will be the Snow Church and the Find. The Finnish projects for the year 2000 are: ArtGenda, Fish and Ships opening the sailing season, and, naturally, the KIDE.
There is also, quite naturally room left to celebrate the sauna.
Enjoying the Scandinavian freedom of expression, Helsinki offers also a
totally different approach to traditional art, the Ecce Homo
series has settings familiar from the paintings by the Old Masters and
feature Christ as a man of today. The exhibition has touched, shocked
and interested audiences all around Europe. In July 2000, Helsinki's
Senate Square will play host to a special FeStadi Festival. The various faces of Europe will be presented in the Spiritus Europaeus. The Face of the Old Continent
as a photographic voyage of Europe, seen through the lens of
photographer-author Rax Rinnekangas. The exhibition presents, compares,
and contrasts the differences and similarities between cultures.
Many events have been organised in cooperation with other Cities of Culture; the programme of ArtGenda
brings together young artists and scientists from 17 Baltic rim cities.
They will present their projects concentrated on the City, its
identity, reality of urban space, and the artist as its medium. The
project linking Helsinki to Krakow will be the presentation of the
Krakow Cribs.
BOLOGNA
Centuries
of art, porticoes, towers, squares animated with life: Bologna is a
crossroad of past, present and future knowledge, a city with a wealth of
history and certainly one of the most beautiful in Italy. This is why
it is a European Capital of Culture for the year 2000. The extraordinary
cultural program is composed of: 300 concerts, 230 exhibitions, 300
shows, 175 conferences, and 125 laboratories, more than 2000 hours of
entertainment!
In homage to its historic vocation as Bologna, lying
at the crossroads of Europe, is communication; the most ambitious
project, however, is that of turning the former Stock Exchange into the
largest library-mediatheque in Italy. Now, as the Multimedia Portico, it
will provide a gateway to all sources of information for each visitor.
The most important manifestations of the variety present in the program of Bologna 2000 are five major festivals. Etruscan Princes between Mediterranean and Europe
is a key exhibition for Western cultural history, researching the
economic and social structure of Etruscan and Italic aristocracy in the
8th and 6th centuries BC, and tracing links with civilisations from the
East Mediterranean. The Danzeduemila is an international contemporary dance festival with P. Bausch, T Brown, W. Vandekeybus, A. Platel and Aterballetto. Jazz Crossing
concentrates on concerts, workshops, jazz music seminars with notable
jazz musicians participating in this long-term project. The programme of
the an original idea is The Culture of Food, including, aside from the practical part, an international conference on "Cooking as a Means of Identity and Exchange". The Land of Motors is a series of events emphasising the motoring tradition of the region associated with the names of Ferrari and Lamborghini.