slovenian
project
The Slovenian project is entitled “GLASBENA DEDISCINA SLOVENIJE” (“The Slovenian musical heritage”) “Music by Slovenian and foreign composers, from the musical archives of the Slovenia and their influence on Slovenia in a European context”, and will perform in the profane and sacred music.
The first aspect, profane music, will be illustrated by a concert by the organist Milko Bizak, also from The Slovenian musical heritage, who will perform, preferably on an historic organ with the short octave and pedal keyboard, music by Dietrich Buxtehude (1637 – 1707); Johann Pachelbel (1653 – 1706) Johann Pacher (17 sec., rom the archives of Klanjec); Anonimo Comasco (17 sec.) Anonymous (17 sec., from the archives of Klanjec); Giuseppe Androvandini (1665 – 1707); Baldassare Galuppi (1706 – 1785) Julije Bajamonti (1744 – 1800); Gaetano Valeri (18 sec., from the archives of Koper) Anonymous (18 sec., from the archives of Novo Mesto); Jakob Francisek Zupan (1734 – 1810); Robert Lesjak (c. 1737 – 1816); Jiri Ignaz Linek (1725 – 1791).
The Sacred concert foresees the performance of the Magnificat, the Gloria and Nisi Dominus by Antonio Tarsia, a musician born in Capodistria, influenced in his compositions on one hand by Italian music, and in particular the rising melodrama, and on the other by the Venetian music, which at that time numbered among its illustrious composers Giovanni Gabrielli, Claudio Monteverdi and – successively – Benedetto Marcello. Furthermore there will be an execution of Egregio Doctor Paule and the Mass in Do major for choir and Orchestra by the Slovenian composer Jacob Francisek Zupan (also known as Suppan). Of interest is the figure of this maestro, who studied in his youth at the Jesuit University of Graz and, from 1756, he acted as a music teacher in Kamnik, a town close to Lubiana. Here he became the local choirmaster and took part in the activities of the Accademische Confoederation Sanctae Caeciliae, an association of sacred music active from 1731 to 1784. During the eighties he wrote his only operatic work, Belin, the first opera completely in Slovenian, as well as the first opera based on a text written only in a Slavic language; up until now this work has been lost. The few works to have survived are sacred, and the style is similar to the sacred music typical of southern Germany towards the middle of the XVIII century.
