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Female gregorian Mediae Aetatis Sodalicium schola (Italy)

“Da pacem — gregorian”

20. 11. 2009 – Friday
8 pm
Creative Communities’ Church, ul. Marii Skłodowskiej-Curie 22

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.


 

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Female gregorian MEDIAE AETATIS SODALICIUM schola

Female gregorian MEDIAE AETATIS SODALICIUM schola from Bolonia was established in 1991 by the Mediae Aetatis Sodalicium Association, which unifies students of various Italian universities. In 1997 Shola received the first place at the International Music Contest in Rome, and in 2005 at the International Polyphonic Contest Guido d’Arezzo (in the category of monody) The group gave concerts in Italy, but also abroad: in Portugal, Spain, Luxembourg, France, Belgium, Germany, Japan, Poland, Slovakia and Hungary. Schola, which is now made of only female voices, aims at combining their own interpretations with the concept and style of Eugene Cardine – the Gregorian maestro of the Solesmes Abbey in France, and the many years’ professor at the Papal Sacred Music Institute in Rome, who dealt with research and interpretation of ancient Gregorian notes and manuscripts, called Gregorian Semiology.

Roberta Binotti (soloist)
Cristina Bonello
Anna Pia Capurso
Bruna Caruso
Carla Cesari
Dina Cucchiaro
Federica Di Leonardo
Carmen Petcu
Francesca Provezza (soloist)
Anna Maria Rais (soloist)
Cinzia Romeo

Antonio Nino Albarosa

Antonio Nino Albarosa, conductor, former music paleography professor at the University of Udine (Italy) and the teacher of gregorian chant at the Papal Sacred Music Institute in Rome. Among his interests, there are those devoted to music and monadic notes – a subject je studied at Dom Eugene Cardine, together with the rules of interpretation chant. Profesor Albarosa still conducts courses of Gregorian chant and seminars at schools in Italy and abroad. He is the author of numerous publications on Gregorian notes. He has been a chairman of the Italian Musicology Association twice. Since its beginning, he is also a member and a many years’ secretary of the International Association of Gregorian Chant Studies. He is the editor of „Studi Gregoriani” magazine. He also partakes in national and international conferences. He established the International Association of Gregorian Chant Studies, and currently is a chairman of the Italian section. Since 1991 he is the music director of Mediae Aetatis Sodalicium.

Da pacem — programme

DA PACEM
Desiderio di armonia dell'uomo con Dio, con il suo prossimo e con la terra

Introitus Da pacem, cum versu
Kyrie I ad libitum
Graduale Laetatus sum
Alleluia Laudate Deum
Offertorium Ad te Domine, cum versu
Communio Unam petii, cum versu

***
Introitus Omnes gentes, cum versu
Graduale Exaltabo
Alleluia Omnes gentes
Communio Inclina aurem, cum versibus

***
Lectio brevis Benedictus Deus
Responsorium breve Quam magnificata sunt
Hymnus Deus creator omnium
Ad Magnificat Antiphona Si linguis hominum, cum Magnificat

***
Offertorium Iubilate Deo, cum versu

“Da pacem”

Mediae Aetatis Sodalicium choir, even if they give a concert, they usually give their performances a form of a liturgical structure, wherever it is possible. The audience observes, just as they do in Feltre, that the first part is subdued to parts of Propium, just to list Introit, Gradual, Alleluja, Offertory, Communion and Kyrie. Also in the second part we can see how Introit, Gradual, Alleluja and Communion come one after another. The third part, however, partially, though somehow organically, draws its fragments from vespers. The ending is in form of grand and famous offering Iubilate Deo.

In this way, the programme gives a possibility to receive the variety of Gregorian forms. The style of singing is consistent, whereas forms in which it is expressed are abundant. For example, there is a great difference between Introit and Gradual. The first one is a fragment full of movements, so as to accompany the celebrans who is approaching the altar; the latter fragment is the one of stability, it expands when the celebrans and congregation sit after the first reading, and a choir together with the soloist perform a piece in a ceremonial form, which provokes to reflection. Using the space, the choir may make the Gradual a motive of deep music expression, but also of virtuosity – to the best of its meaning.

Going into details, Da pacem evokes peace, this grand majesty of spirit, which brings back peace to the soul. After the great Kyrie, rich in deep music musicality, Laetamus sum is dedicated to the rejoicing Israeli, who were told they’d see Jerusalem. This story, far from presenting just a historical fact, has today the meaning of a universal expectation of the faithful to see Jerusalem.

Generally, all parts of the mass have their own functions in a form given to them by liturgy. Some place should be devoted to vespers. After Lectio brevis, Responsorium breve, and delightful hymn Deus creator omnium, the choir sings Magnificat, praising the great things created by God for His servant, Mary.

Gregorian Magnificat in psalmodic style, with its antiphon preparing this style, makes an individual summa of music of all times, music that expresses the spirit of movement and deep participation, characteristic for contemplation of one of the greatest gestures of the universe.