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CLOSING OF THE FESTIVAL
Paco Peña with the Band (Spain) with the participation of choirs conducted by: Anna Domańska and Waldemar Sutryk

“Requiem for the Earth”

16. 11. 2014 – Sunday
8pm
Our Lady of Victory Church, ul. Łąkowa 42

phot. José Carlos Nievas

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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Flamenco Requiem — In Praise of the Earth

Paco Peña’s most recent choral work, Requiem for the Earth, came about following his participation in various music festivals, over many years, performing his internationally acclaimed MISA FLAMENCA. Collaborating with various classical choirs in performing this work, he has often been urged by them and the festivals to compose again for flamenco guitar, voice and chorus.

He has now decided to write a Requiem, true to the orthodox tradition of such works, but giving it a different treatment at the same time; thus, composing a REQUIEM FOR THE EARTH, building its context with this in mind.

The Flamenco Requiem, therefore, contains several aspects which are new and unique: it combines the most pure flamenco with the beautiful instrument that is the classical voice, which will of course, be delivered in the flamenco form. At the same time it combines the original meaning of a requiem, with the disappearance of vital elements of the earth that are so necessary for the existence of human beings, and consequently, Judgement Day (also a central part of the requiem mass) will come to humanity for its unmeasured exploitation of the planet. This Requiem will also sing its praise to the Earth.

Of course all of this, gives this work a social commentary very relevant to the times we live in. However, Paco Peña wanted to add to this work an element of hope — that, not all is lost; with this idea he also uses a children's choir, which, although singing the serious message of the text, will contribute, with their innocence a little light of optimism towards the end of the piece.

 

Paco Peña

Paco Peña is a guitarist and flamenco composer, born in “the heart” of Andalusia — Cordoba. He is thought to be one of the most important traditional composers of this genre worldwide. His music is innovative, although based on flamenco heritage. As creator, playwright and producer, he changed the manner in which this archetypal Spanish artistic form has been perceived.

By the end of the 60s, he left for London, where his flamenco concerts would bring crowds. He appeared with solo concerts in various places, from chamber Ronnie Scott’s Jazz Club to the most sophisticated Royal Albert Hall, Carnegie Hall in New York or Het Concertgebouw in Amsterdam. In 1995, The New York Times wrote about him that Paco Peña is a virtuoso who, thanks to his amazing skills, takes his audience beyond the world of a mortal man. He puts together expressive gestures and pastel and innocent pictures. After such a concert, a listener leaves certain that there is no greater maestro of an instrument but Paco.

The readers of the American magazine America’s Guitar voted Paco Peña the Best Flamenco Guitarist of the Year and the title was sustained for five consecutive years. In 1981 he initiated Centro Flamenco Paco Peña in Cordoba and became the artistic director of International Guitar Festival there.

He is the first ever flamenco guitar professor.