L'HOMME ARMÉ
Uģis PRAULIŅŠ, composer/synthesizer
Ensemble ARS ANTIQUA RIGA
Vairis NARTIŠS & Kaspars MAJORS, sackbuts
Jānis PELŠE, organ
Pēteris VAICKOVSKIS,artistic director
The Mass and Interludes L’homme armé were written for the five-voice vocal ensemble Ars Antiqua Riga, accompanied by organ, sackbuts (ancient trombones), and electronic instruments, creating an atmospheric soundscape. The opus was born as a result of creative symbiosis between composer Uģis Prauliņš and conductor Pēteris Vaickovskis, who initially invited the composer to write musical comments (interludes) on Johannes Ockeghem’s (c. 1414–1497) Mass L’homme armé. The creative collaboration provided the opportunity and inspiration to expand the interludes into a mass. Prauliņš admits that it is a challenge to place the traditional means of expression and forms of sacred music into the modern surrounding landscapes.
Ensemble ARS ANTIQUA RIGA
Vairis NARTIŠS & Kaspars MAJORS, sackbuts
Jānis PELŠE, organ
Pēteris VAICKOVSKIS,artistic director
The Mass and Interludes L’homme armé were written for the five-voice vocal ensemble Ars Antiqua Riga, accompanied by organ, sackbuts (ancient trombones), and electronic instruments, creating an atmospheric soundscape. The opus was born as a result of creative symbiosis between composer Uģis Prauliņš and conductor Pēteris Vaickovskis, who initially invited the composer to write musical comments (interludes) on Johannes Ockeghem’s (c. 1414–1497) Mass L’homme armé. The creative collaboration provided the opportunity and inspiration to expand the interludes into a mass. Prauliņš admits that it is a challenge to place the traditional means of expression and forms of sacred music into the modern surrounding landscapes.
ANATOMIA
Platons BURAVICKIS, composer/electronics
Olga ŽITLUHINA, choreography/dancer
Agnese PAUNIŅA, soprano
Inga MARTINSONE, alto
Mārtiņš ZVĪGULIS, tenor
Pēteris VAICKOVSKIS, bass & artistic director
Olga ŽITLUHINA, choreography/dancer
Agnese PAUNIŅA, soprano
Inga MARTINSONE, alto
Mārtiņš ZVĪGULIS, tenor
Pēteris VAICKOVSKIS, bass & artistic director
PRAISE OF FOLLY
Ieva NĪMANE, baroque oboe, recorder
Ainārs PAUKŠĒNS, viola da gamba
Vilis DAUDZIŅŠ, readings
Pēteris VAICKOVSKIS, positive organ, artistic director
Ainārs PAUKŠĒNS, viola da gamba
Vilis DAUDZIŅŠ, readings
Pēteris VAICKOVSKIS, positive organ, artistic director
LUTHER & HIS CONTEMPORARIES
Ensemble ARS ANTIQUA RIGA
Lenards GOTLUBS, lute; Varis PIŅĶIS, readings
Pēteris VAICKOVSKIS,artistic director
Lenards GOTLUBS, lute; Varis PIŅĶIS, readings
Pēteris VAICKOVSKIS,artistic director
MUSICA RIGENSIS
Ensemble ARS ANTIQUA RIGA
Pēteris VAICKOVSKIS, artistic director
In the concert programme Musica Rigensis, you will hear Gregorian chants from the 14th century collection Missale Rigensie, which were performed at the Riga Cathedral. Missale Rigensie reveals medieval Riga as a significant centre of European culture where the most current Western European music of the time was performed.
In contrast to the monophonic chants within the programme, there are polyphonic works composed two centuries later – mass, passion, and motets. In the second half of the 16th century, Riga was a strictly Lutheran town that actively fought back against the Counter-Reformation movement. During this time, the teacher and cantor of the Riga Cathedral Paulus Bucenus Philarodus (1548–1586) was active. Only a small portion of the composer’s musical legacy has survived to the present day, and we can only read about the extensive volumes of his work in the archives. The works included in this concert programme – a mass, motets, a passion, Gregorian chants – bring us closer to the medieval musical landscape of Riga, ranging from simple monody to splendid polyphony.
Pēteris VAICKOVSKIS, artistic director
In the concert programme Musica Rigensis, you will hear Gregorian chants from the 14th century collection Missale Rigensie, which were performed at the Riga Cathedral. Missale Rigensie reveals medieval Riga as a significant centre of European culture where the most current Western European music of the time was performed.
In contrast to the monophonic chants within the programme, there are polyphonic works composed two centuries later – mass, passion, and motets. In the second half of the 16th century, Riga was a strictly Lutheran town that actively fought back against the Counter-Reformation movement. During this time, the teacher and cantor of the Riga Cathedral Paulus Bucenus Philarodus (1548–1586) was active. Only a small portion of the composer’s musical legacy has survived to the present day, and we can only read about the extensive volumes of his work in the archives. The works included in this concert programme – a mass, motets, a passion, Gregorian chants – bring us closer to the medieval musical landscape of Riga, ranging from simple monody to splendid polyphony.
JOHANN SEBASTIAN & OTHER BACHS
Ensemble ARS ANTIQUA RIGA
Ainārs PAUKŠĒNS, baroque cello; Jānis PELŠE, positive organ
Pēteris VAICKOVSKIS, artistic director
Motets of Johann Michael Bach (1648–1694), Johann Christoph Bach1(642–1703), Johann Sebastian Bach (1685–1750).
Ainārs PAUKŠĒNS, baroque cello; Jānis PELŠE, positive organ
Pēteris VAICKOVSKIS, artistic director
Motets of Johann Michael Bach (1648–1694), Johann Christoph Bach1(642–1703), Johann Sebastian Bach (1685–1750).
ODI ET AMO
Uģis PRAULIŅŠ, composer/keyboards
Sniedze PRAULIŅA, composer/voice/flute/keyboards
Ensemble ARS ANTIQUA RIGA
KORTELAINEN STRING QUARTET
Mikus BĀLIŅŠ, percussions
Pēteris VAICKOVSKIS, conductor & artistic director
Sniedze PRAULIŅA, composer/voice/flute/keyboards
Ensemble ARS ANTIQUA RIGA
KORTELAINEN STRING QUARTET
Mikus BĀLIŅŠ, percussions
Pēteris VAICKOVSKIS, conductor & artistic director
