polski

english

français

Closing of the Festival

Iegor Reznikoff (France) — early Christian songs

16. 11. 2008 – Sunday
8pm
Archcathedral, ul Piotrkowska 265

About Christian Culture Festival

Christian Culture Festival was organized for the first time in 1997 on 10th Anniversary of the Logos Theatre. In a sense, it extends the idea of Christian Culture Weeks organized in Poland in 70s and 80s of the last century, which were to become counterpoise to lay media model promoted by the State. Lodz Christian Culture Days were organized in churches all around the city, so as to accommodate the artists, spectacles, exhibitions and projections.

One of such places was the John Paul lecture theatre in the vault of the Assumption of Holy Mother Church in Kościelna Street. This is where the Logos Theatre started, before it was moved to the church in Maria Skłodowska-Curie. It was this church that Archbishop Władysław Ziółek gave to the Lodz artists in 1993, and in which the Centre of Creative Communities’ of Lodz Archdiocese was appointed. It is here that the ‘logistic’ centre of the Festival is located, and where some of the Festival events take place.

Traditionally, the Festival takes place in November, on the first Sunday after All Soul’s Day. It usually lasts for two weeks, during which various event take place – spectacle premiers, other theatres come to Lodz, there are exhibitions of invited artists, performances of choirs and musicians, very often not to be seen anywhere else in Poland at any other time. The Festival programme is the result of the whole year’s work of rev. Waldemar Sondka, the Festival Director, who – using his contacts – invites artists who are interesting, out of the ordinary, noteworthy and creating art perhaps not always religious, but always searching and at the highest level. Care for the level of the Festival offers is a permanent rule, the Logos environment has always wished to provide the Lodz citizens with the possibility of contact with art deprived of parochialism, open to the man and as perfect formally as possible.

The Festival is not an activity that brings profit. Any entrance cards are issued as invitations that are free of charge, and the team of the Logos Theatre and all the people engaged in the Festival organization, act as volunteers. This does not mean that Christian Culture Festival costs nothing. On the contrary, to organize such a cultural event at appropriate level is always connected with costs. Rev. Waldemar Sondka deals with organizing means to secure the Festival events all year round. He manages to gain sponsors (without whom the Festival would not exist) and subsidies from institutions that deal with funding culture (without which the Festival could not develop). All that in order to realize the basic idea of the event that derived from the Lodz Christian Culture Days – to enable anyone who wishes and needs that, to live the Mystery through art. This idea assumes a free of charge participation in all the artistic events, which has been the case since the very beginning of the Festival until today, the only condition is that on the day of the Festival opening, one must queue as long as it takes to get invitations. The only limit to the number of invitations is the capacity of rooms in which the events are organized every day throughout the two weeks of the Festival.


 

Cookies

Strona Festiwalu Kultury Chrześcijańskiej używa cookies wyłącznie w celu dopasowania wyglądu i wyświetlania strony do preferencji użytkownika oraz dla gromadzenia statystyk odwiedzin (kraj, monitor, przeglądarka internetowa), pozwalających nam pracować nad ulepszeniem layoutu. Nie prowadzimy działań reklamowych z użyciem ciasteczek.

Nasza strona wymaga włączonej obsługi skryptów java.

Cookies to informacje tworzone przez skrypty obsługujące połączenie Twojej przeglądarki (zwane sesją) z serwerem obsługującym adres URL (adres internetowy wpisany w pasek adresu). Są one zapisywane na dysku Twojego komputera (ustawa nazywa to urządzeniem końcowego użytkownika) w folderach systemowych przeglądarki i używane przez serwer do rozpoznania Twoich ustawień, stanu poprzedniego lub wskazanych preferencji (np. wyboru koloru strony czy rozkładu list w wyliczeniach) przy każdym ponownym połączeniu. Cookies — jeśli istnieją zachowane na dysku — są pobierane i przesyłane z powrotem na serwer obsługujący adres URL w momencie rozpoczęcia przeglądania strony.

Cookies są konieczne do poprawnego działania różnych części większości witryn internetowych. Wyłączając cookies narażasz się na kontakt ze stroną działającą wadliwie.

 
1. Możesz zabronić przeglądarce internetowej zapamiętywania (akceptowania) plików cookies.

Spowoduje to prawdopodobnie utrudnienia w korzystaniu ze strony www, ciasteczka wymyślono bowiem jako mechanizm usprawniający działanie serwisów. Należy w tym celu zmienić na stałe – jednorazowo – ustawienia Twojej przeglądarki. Pamiętaj, żeby sprawdzić na wszelki wypadek te ustawienia po zainstalowaniu nowej wersji oprogramowania.

W przeglądarce Internet Explorer cookies można wyłączyć wykorzystując ustawienia — NARZĘDZIA — OPCJE INTERNETOWE — PRYWATNOŚĆ — WYBIERZ USTAWIENIE DLA STREFY INTERNETOWEJ (wersja IE 10).

W przeglądarce Firefox przez modyfikację ustawień — NARZĘDZIA — OPCJE — PRYWATNOŚĆ.

W Chrome — USTAWIENIA — ZAAWANSOWANE — PRYWATNOŚĆ — USTAWIENIA TREŚCI.

W przeglądarce Opera USTAWIENIA — PREFERENCJE — ZAAWANSOWANE — CIASTECZKA.

2. Możesz nakazać usuwać ciasteczka automatycznie po każdym zamknięciu przeglądarki.

Większa część cookies zbierających dane, których nie chcesz przekazywać nigdzie dalej, ma dość odległą datę wygaśnięcia i wcześniej nie wygasają one automatycznie. Cookies służące do automatyzacji pracy strony najczęściej mają ustawiony moment wygaśnięcia na zakończenie sesji przeglądania strony. Nigdy jednak nie ma pewności. Tę opcję lepiej zaznaczyć w ustawieniach.

3. Możesz regularnie używać programu czyszczącego system (z istniejącą i zaznaczoną opcją usuwania cookies).

Takie postępowanie jest zalecane ogólnie ze względów bezpieczeństwa i nie tylko odnośnie ciasteczek. Ponieważ jednak czynisz to na własne ryzyko, nie proponujemy Ci żadnego konkretnego programu. Część z nich jest zresztą płatna.

 

Programme for concert

Alleluia (All Saints, 1st of November)
Exultabuntur sancti in gloria, laetabuntur in cubilibus suis.

Alleluia (St Caecilia, 22nd of November)
Audi filia et vide et inclina aurem tuam quia concupivit Rex speciem tuam.

Offertorium (Advent)
Ave Maria gratia plena, Dominus te cum, benedicta tu in mulieribus et benedictus fructus ventris tui.
Quomodo in me fiet hoc quae virum non cognosco ? Spiritus Domini super veniet in te et virtus Altissimi obumbrabit tibi. Ideo quod nascetur ex te sanctum vocabitur filius Dei. Benedicta tu …

Alleluia (St Martinus, 11th of November)
Martinus hic pauper et modicus caelum dives ingreditur, hymnis caelestibus honoratur.

Cantata to St Elisabeth of Hungary (17th of November)
Specie tua et pulchritudine tua intende, prospere procede et regna, alleluia.

Iegor Reznikoff

Specialist in the realm of Art and Music of Antiquity, Iegor Reznikoff gave his first concerts in the field of ancient Christian Chant in 1975. Today world renowned, his fundamentally new interpretations of these ancient Chants, as well as his theoretical and historical research, have since then greatly influenced the level of understanding and the interpretation of ancient Christian Chants, and particularly that of Gregorian Chant. Above all, one owes him the rebirth of the great ancient Chants for soloist, which he has developed in their full splendour.

His approach to ancient Chant is based on very careful research in the oldest manuscripts and on their neumatic notations, as well as on comparative listening to the great oral traditions of sacred music linked with — and this aspect of his work remains unique to this day — the just intonation of the ancient scales. This approach to the ancient scales was made possible only through a vast comparative study of their specific intonations, for example those of the Oriental Churches or those of the sacred music traditions of Turkey, Iran and above all India, the respective masters of which Iegor Reznikoff has now worked for many years. This research on ancient scales has leaded him to delve deeply into the study of the resonance of the various religious edifices, thus rendering to the ancient religious architecture its essential contemplative dimension.

Professor Reznikoff is not only a specialist of antique and medieval resonance, but also in the resonance of Palaeolithic ornate caves and caverns, as well as in that of modern edifices ; through this research, one owes him the new concept of cultural heritage of architectural resonance. Thusly, to hear him sing in a great Romanesque or Gothic resonance space is indeed a musical experience never to be forgotten.

One also owes him a new and fundamental approach to sound therapy, in particular that of the human singing voice, giving rise to remarkable and efficient clinical applications for certain pathologies. Furthermore, in linking together his research on architectural resonance, corporal resonance, sound therapy, with ethnomusicology and ancient music practices, he has created a new concept of sound anthropology. This new concept is by all means essential today due to its universal anthropological aspect, which goes well beyond the frontiers of individual cultures.

Being an invited guest to numerous international music festivals on ancient music and music of oral traditions, Iegor Reznikoff has given concerts in most all the European countries, as well as in the United States of America, in Japan and China. Professor at the University of Paris, he is also invited to teach regularly in several prestigious Conservatories but also in religious communities. In addition to this, he has had the honour of singing before the Dalai Lama in Zurich in 1991, and in the Shinto ceremonies for the Millennium festivities in Kyoto in the year 2000, as well as in exceptional architectural sites such as the Temple of Apollo in Delphos, Greece, and in the Basilica of Saint Francis in Assisi, Italy.

Apart from the very learned aspect of his interpretations of the great ancient Chants, his concerts are always characterized by unique moments of prayer and high praise. Furthermore, his research in musicology and, more generally in sound anthropology, has opened new avenues of fundamental study in many different disciplines linked closely with sound and music.