Capella Cracoviensis | November 25, 2023 | House Program

Create successful ePaper yourself

Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.




Jan Tomasz Adamus, conductor<br />

SATURDAY, NOVEMBER <strong>25</strong>, <strong>2023</strong><br />




Jan Tomasz Adamus, conductor<br />

SATURDAY, NOVEMBER <strong>25</strong>, <strong>2023</strong>




Jan Tomasz Adamus, conductor<br />


Mikołaj Zieleński (1550-1615) In monte Oliveti à 5<br />

Giovanni Gabrieli (ca.1554-1612) Magnificat à 12<br />

Mikołaj Zieleński Adoramus te Christe à 4<br />

Claudio Monteverdi (1567-1643) Adoramus te Christe à 6<br />

Mikołaj Zieleński Terra tremuit et quievit à 8<br />

Per signum Crucis à 4<br />

Vox in Rama à 4<br />

Magnificat à 12<br />

Heinrich Schütz (1585-1672) Syncharma Musicum: En novus Elysiis, SWV 49<br />

Johann Hermann Schein (1586-1630) Beati omnes à 8<br />

Bartłomiej Pękiel (1601-1670) Dulcis amor Jesu à 5<br />

Johann Michael Bach (1648-1694) Herr, wenn ich nur dich habe à 5<br />

Andrea Gabrieli (1532/33-1585) O sacrum convivium à 5<br />

Johann Sebastian Bach (1685-1750) O Jesu Christ mein’s Lebens Licht, BWV 118<br />


In this marvellously curated program of Baroque<br />

choral music composed during the century<br />

before Johann Sebastian Bach’s career, we<br />

have a chance to experience the classical vocal<br />

polyphony that composers were creating<br />

in Europe and, in some instances, may have<br />

provided inspiration and models for Bach himself.<br />

Little is known about Mikołaj Zieleński, except<br />

that he was a Polish composer, organist and choir<br />

director in the early 1600’s. While details of his life<br />

may be missing, his music was so admired, that<br />

he was the only Polish composer of this period<br />

to see his music published in Venice during his<br />

lifetime. His music at times exemplifies a superb<br />

control of chromatic dissonance for expressive<br />

purposes as can be heard in the opening motet,<br />

In monte Oliveti (On the Mount of Olives), and<br />

Vox in Rama (The Voice of Rama). Later, another<br />

early Baroque Polish composer, Bartłomiej Pękiel,<br />

is represented by a five-part motet with continuo,<br />

Dulcis amor Jesu (Jesus, My Sweet Love), that not

only uses chromatic dissonance to equally inspire<br />

expressiveness, but also displays a high-level of<br />

imitative counterpoint where the same melodic<br />

idea moves through all five parts.<br />

Giovanni Gabrieli, the principal organist and<br />

composer of Venice’s St. Mark’s Basilica from<br />

1585 until his death in 1612, benefited from<br />

the mentorship of his uncle, Andrea Gabrieli,<br />

and similarly returned the favour to the many<br />

composers who visited Venice from across<br />

Europe, including Heinrich Schütz. The three,<br />

4-part choirs that Giovanni Gabrieli used in<br />

dialogue in the Magnificat setting is an excellent<br />

example of resonantly glorious choral writing and<br />

Zieleński’s 12-part version is similarly impressive.<br />

Another Venetian composer, Claudio Monteverdi<br />

(1567-1643), was equally adept at writing<br />

beautiful choral music that combines chordal<br />

writing with florid counterpoint as can be heard<br />

in this six-part setting of the Good Friday text,<br />

Adoramus te, Christe (We Adore Thee, O Christ).<br />

J.S. Bach knew and studied the music of Heinrich<br />

Schütz and Johann Schein, with Schein also<br />

having served as the Cantor of the St. Thomas<br />

Church in Leipzig from 1615-1630, a post Bach<br />

held from 1723-1750. Schütz’s Syncharma<br />

Musicum: En novus Elysiis, is the only secular<br />

work on this program and is a very triumphant<br />

ceremonial motet written for the 1621 swearing<br />

of allegiance of the Silesian nobility to Johann<br />

Georg of Saxony as the representative of<br />

Emperor Ferdinand.<br />

A distant relative of J. S. Bach, the older church<br />

organist and composer, Johann Michael Bach,<br />

later became more closely connected through<br />

marriage when his youngest daughter, Maria<br />

Barbara, married Johann Sebastian in 1707. In<br />

J.M. Bach’s funeral motet, Herr, wenn ich nur<br />

dich haben (Lord, if I have you alone), it is worth<br />

listening closely to the soprano’s ornamented<br />

chorale because it is the same melody used in<br />

the J. S. Bach motet that ends today’s concert.<br />

As with J. M. Bach’s treatment, J.S. Bach places<br />

the chorale melody in the sopranos, but with<br />

contrapuntal ingenuity, treats each phrase of<br />

the melody in imitation in the lower parts<br />

reaching a density of seven separate voices.<br />

©<strong>2023</strong> by John Burge for the Isabel<br />


<strong>Capella</strong> <strong>Cracoviensis</strong> (CC) chamber choir and<br />

orchestra is one of the most interesting ensembles<br />

on the contemporary scene of period music.<br />

Its repertoire ranges from Renaissance polyphony<br />

to early Romantic operas performed on period<br />

instruments using historical performance<br />

techniques. CC has been hosted at many<br />

important festivals and concerts halls, including<br />

Concertgebouw Amsterdam, Bachfest Leipzig,<br />

SWR Festspiele Schwetzingen, Händel Festspiele<br />

Halle, Haydn Festspiele Brühl, Opéra Royal<br />

Versailles, Theater an der Wien, the Polish<br />

National Radio Symphony Orchestra in Katowice,<br />

Szczecin Philharmonic and the Misteria Paschalia<br />

Festival in Krakow. The ensemble has already<br />

performed with such eminent guests as Evelino<br />

Pidó, Christophe Rousset, Alessandro Moccia,<br />

Giuliano Carmignola, Paul Goodwin, Andrew<br />

Parrott and Paul McCreesh.<br />

One of CC’s greatest successes was the<br />

performance of all Beethoven’s symphonies<br />

on historical instruments within one day, on 27<br />

August 2016 in Krakow, with live transmission<br />

on the radio. The total of 2300 audience<br />

members could appreciate the mastery of 90<br />

instrumentalists, 44 singers and 5 conductors.<br />

The latest achievements of CC include the first<br />

performance of Wagner’s works on historical<br />

instruments with the participation of Waltraud<br />

Meier (Wesendonck-Lieder) and the recording of<br />

the following operas by Pergolesi and Porpora for<br />

Decca Records: Pergolesi: Adriano in Siria (Fagioli<br />

Basso Sancho Adamus) and Porpora: Germanico<br />

in Germania (Cencic Leznieva Adamus) which<br />

was awarded with Diapason d’Or.<br />

CC’s other albums include Te Deum / Lully<br />

& Charpentier with Le Poème Harmonique<br />

(conducted by Vincent Dumestre) and the<br />

recordings of Bach’s motets (conducted by<br />

Fabio Bonizzoni) for Alpha records as well as<br />

the piano concerto in F minor and the unfinished<br />

symphony by Schubert (Klimsiak / Adamus)<br />

for AviMusic.<br />

In May 2018 CC began the six-year project Haydn:<br />

complete symphonies 2018-<strong>2023</strong> including<br />

concerts and live recordings.

CC has staged the following operas: Amadigi di<br />

Gaula by Handel, The Marriage of Figaro by Mozart<br />

and Orfeo ed Euridice by Gluck, and prepared<br />

such special projects as Monteverdi’s madrigals<br />

performed in a milk bar, Mendelssohn’s songs for<br />

choir staged in the woods and A Midsummer Night’s<br />

Dream with the participation of children with visual<br />

impairments as actors or Mozart’s Requiem as<br />

karaoke directed by Cezary Tomaszewski.<br />

CC was established in 1970 on the initiative of<br />

Jerzy Katlewicz, Director of Krakow Philharmonic<br />

at that time, who appointed Stanisław Gałoński to<br />

create an ensemble specialising in period music<br />

performance. Over the years, <strong>Capella</strong> <strong>Cracoviensis</strong><br />

became an independent entity performing various<br />

repertoire ranging from Medieval music to world<br />

premieres of contemporary pieces. Since <strong>November</strong><br />

2008, Jan Tomasz Adamus has been CC’s General<br />

and Artistic Director.<br />

<strong>Capella</strong> <strong>Cracoviensis</strong> owes special<br />

thanks to the Embassy of the<br />

Republic of Poland in Ottawa for<br />

its support of the concert tour in<br />

Canada in <strong>November</strong> <strong>2023</strong>.<br />



Jan Tomasz Adamus – a conductor, organist,<br />

harpsichordist and culture creator; he studied in<br />

Krakow and Amsterdam and taught at the Academy<br />

of Music in Wrocław for a number of years.<br />

In 2008 he was appointed General and Artistic<br />

Manager of <strong>Capella</strong> <strong>Cracoviensis</strong>, an institution<br />

of culture which is a chamber choir and period<br />

instrument orchestra based in Krakow with which he<br />

performed at many major festivals and in renowned<br />

concert halls: Concertgebouw Amsterdam, Theater<br />

an der Wien, Haydn Festspiele Brühl, Festiwal<br />

Muzyki Polskiej, NOSPR Katowice, SWR Festspiele<br />

Schwetzingen, Bachfest Leipzig, Händel Festspiele<br />

Halle. His numerous recordings include solo organ<br />

repertoire, Polish old music, baroque operas and<br />

Romanticism on period instruments (Chopin,<br />

Schubert, Moniuszko).<br />

Give the gift of music this holiday<br />

season with an Isabel Gift Certificate<br />

in the amount of your choice.<br />










GIFT CERTIFICATES AVAILABLE AT: queensu.ca/theisabel · 613-533-2424

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!