European Culture Programme
THE BOUNDARIES OF MUSICAL HUMANISM:
SLAVIC REGIONS AND MEDITERRANEAN CULTURE
Dubrovnik, 26th – 28th March 2012
The project The Boundaries of Musical Humanism: Slavic Regions and Mediterranean Culture has been created with the aim to cast light and promote rich musical heritage of Central Europe toward the end of Renaissance. Musical repertory of that period is still relatively unknown and waits to be discovered by musicologists and musicians at concerts, which would be a valuable contribution to the study of the sources and their transmitters from the very end of Humanism, both chronologically and geographically. Although Humanism developed in Italy and France, i.e. primarily in Western Europe around the Mediterranean, as suggested by the title of the project, its expansion, application and interpretation in regions of the Christian Eastern Europe are extremely important and still pose a challenge for consideration, studying and listening. Trying to define the musical identity of these regions at the boundary of numerous cultural influences, the project aims to define notions of "self" and "others" in both a secular and spiritual sense, especially today, when belonging to the European Union does not go without saying for many inhabitants of Central and Eastern Europe. In that sense, significant partner countries are: France and Italy as two of the founding countries of the European Union, Czech Republic presiding over the European Union in 2009, and Croatia still waiting on inclusion. The project has been funded with support from the European Commission.
The host of the project is the Center for Renaissance Studies of Tours, France, and its co-organizers are the University of Palermo, the Charles University in Prague, Matica Hrvatska (Central Croatian Cultural and Publishing Society – the Dubrovnik branch) and the Centre for Mediterranean Studies of University of Zagreb in Croatia. In mid-April 2011, the Croatian Radio-Television Choir already participated as a joint partner at the Preludes de Sablé Festival, held in the French town of Sablé-sur-Sartre, where the ensembles Octopus Pragensis (Czech Republic) and Doulce Mémoire (France) from the afore mentioned countries also appeared. Italy participated in the project's scientific part of the program. A second session of the project was held in Prague where the French Ensemble Doulce Mémoire appeared on 11th November (St. Simon and Judas Church), followed by the Croatian Radio-Television Choir on 14th November, conducted by Tonči Bilić, who also gave a lecture on the programme and the problems he encountered during his musicological researches.
The concluding part of the project will be held in Dubrovnik, from 26th to 28th March 2012, for which a musicological conference is planned, as well as three concerts: the Croatian Radio-Television Choir performing early music of the Adriatic (26th March), the Ensemble Doulce Mémoire whose programme concentrates on the Italian moresche and greghesche (27th March), and Octopus Pragensis, organist Pavel Černy performing music from the time of Emperor Rudolf II (28th March).
The Boundaries of Musical Humanism:
Slavic Regions and Mediterranean Culture
26th – 28th March 2012
Centre for Mediterranean Studies, 4, Don Frana Bulića Street
Monday, 26th March
15:30 – 18:00
1. Ivana Burđelez (Centre for Mediterranean Studies, University of Zagreb): Opening and welcome speech
2. Philippe Vendrix (Centre for Renaissance Studies of Tours, CNRS UMR 7323): Music, Humanism and identity. The foundations of a European project
3. Ennio Stipčević: (Croatian Academy of Science and Art, Zagreb): Is there such a thing as Renaissance music in Croatia?
26th March 2012, 8 pm, Saint Ignatius Church / Poljana Ruđera Boškovića
Croatian Radio-Television Choir
Tonči Bilić, conductor
Program: Early Music of the Adriatic
Tuesday, 27th March
1. Lenka Hlávková-Mráčková (Charles University, Prague): On the road between Italy and Central Europe: Transmission of polyphony by Josquin and his contemporaries before 1500.
2. Marc Desmet: (University Jean-Monnet, Saint Étienne): Jacob Handl Gallus and Italy: the missing link?
3. Paweł Gancarczyk (Institute of Art, Polish Academy of Sciences, Warsaw): Unification and diversity of musical repertories: remarks on the role of printing in the 16th century Central Europe
4. Gábor Kiss (Institute for Musicology, Hungarian Academy of Sciences, Budapest): Single source, several cultural influences: The Gradual Wladisai from the 16th century Hungary
1. Michaela Zackova Rossi (Association for Central European Cultural Studies, Prague): Musicians at the court of Rudolf II (1576-1612) in light of imperial accounting books
2. Marco Gurrieri (Centre for Renaissance Studies of Tours): The domestic saga of Eusebius Bohemus: a Bohemian family between Zwickau and Wittenberg
3. Christian Thomas Leitmeir (Bangor University): Madrigals and church music reform: New perspectives on parody masses and spiritual madrigals in Italy and Central Europe
16:50 – 18:10
4. Erika Honisch: (University of Toronto): Queen of Bohemia, Queen of Heaven: the Virgin Mary as Protector and Patron Saint
5. Orsolya Csomó Horváthné (Institute for Musicology, Hungarian Academy of Sciences, Budapest): Migration from the old to the new – a special 18th century gradual of the Zagreb Cathedral
27th March 2012, 8 pm, Luka Sorkočević Art School / 3, Strossmayer Street
Doulce Mémoire (France)
Denis Raisin Dadre, artistic leadership
Program: Italian Moresche and Greghesche
Wednesday, 28th March
1. Viktoria Franić Tomić (Faculty of Philosophy, Split) & Slobodan Prosperov Novak (Academy of Theatre, Zagreb): Peculiarity of the Croatian contribution to the late Renaissance theory of dramatic music from Patrizio (Petrić) to Primović
2. Ivano Cavallini (University of Palermo): Other defining elements of moresche. Polyphony and theatre in Naples and Dubrovnik in the 16th century
3. Stanislav Tuksar (Academy of Music, Zagreb) & Monika Jurić (Zagreb): 'Padeia' and the neo-platonic ideas on music education and culture in Renaissance Dubrovnik in the works of Niccolò Vito di Gozze (1549-1610)
4. Elina Hamilton: (Bangor University): Understanding the Heavens: Johannes Kepler in the Discourse on Musica
1. Zsuzsa Czagány (Institute for Musicology, Hungarian Academy of Sciences, Budapest): Die zwei Gesichter einer Handschrift: Quellen und Vorlagen des Antiphonale Varadiense
2. Jan Bat'a (Charles University, Prague): Turkish threat and music in 16th sources from the Bohemian lands
3. Martina Sárovcová (Association for Central European Cultural Studies, Prague): Turkish motifs in the illuminated choir books of the Czech Renaissance
4. Vladimír Maňas (Masaryk University, Brno): Music at the court of Karl I of Lichtenstein in Prostějov (Moravia) at the beginning of the 17th century
5. Aurelio Bianco (University of Strasbourg ) & Sara Dieci (Conservatory of Cesena/Conservatory of Parma): I «Madrigali et Symfonie» op. 2 di Biagio Marini: una raccolta ‘dimenticata’
28th March 2012, 8 pm, the Dubrovnik Cathedral / Držićeva poljana
Pavel Černy, organ (Czech Republic)
Program: Organ at the Court of Rudolf II