EVA DOLINŠEK – presentation of the new CD BAROK II (Pièces de clavecin)
Eva Dolinšek, harpsichord
Concert conversation: Tamara Stanese
Programme:
Jean-Henry d’Anglebert (1629–1691), Pièces de clavecin: Premiere Suite
François Couperin (1668–1733), Vingt-cinquième ordre
La Visionnaire: Gravement Et Marqué – Vite
La Mistérieuse: Modérément
La Monflambert: Tendrement, Sans Lenteur
La Muse Victorieuse: Audacieusement
Les Ombres Errantes: Languissamment
Claude- Bénigne Balbastre (1724–1799), Pièces de clavecin, Livre I
La De Caze: Overture fiérment et marqué
La D’ Héricourt: noblement, sans lenteur
La Boullongne: fiérment et marqué
La Berville: Gavotte gracieusement
La Lugeac: Giga allegro
La Suzanne: noblement et animé
Giuseppe Tartini (1692–1770), Concert for harpsichord, op. 4, No. II in d-Major (arr. L. Frischmuth)
Slovenian harpsichordist Eva Dolinšek presents her second CD entitled Baroque II – Pièces de clavecin. The program is designed as a journey through different periods of the rich legacy of French Baroque composers. All the compositions on the CD come from the collections that the composers titled Pièces de clavecin – hence the subtitle. The CD was recorded by Aleksander Govekar in the church of St. Martin in Kostanjevica na Krasu, which provided exceptional natural acoustics for the instrument. More about the programme and the creation of the CD will be revealed in a conversation during the concert, which will be led by Tamara Stanese – conductor (master’s degree from the Tartini Conservatory in Trieste), publicist and editor of serious music broadcasts at the regional headquarters of the Italian radio and television RAI in Trieste.
The 17th century, also called the Grand Siecle, is one of the richest periods in French history in the fields of music, fine arts, architecture, literature, and fashion. Strong French influence spread to other parts of Europe. The French harpsichord was born from the Flemish school, but developed independently over the periods and reached its peak in the 18th century. The French school of instrument making is characterized by a distinct search for a very soft and full sound with mighty depth. French harpsichord music developed in parallel with the instrument, and can be divided into three periods:
A representative of the first period – Jean Henry D’Anglebert (1629–1691) was one of the three most important personalities of the French harpsichord school of the 17th century. In 1689 he published a collection for the harpsichord named Pièces de Clavecin, in which the main part of his opus is collected. His music is dominated by noblesse (nobility, dignity) and elegance, and is based mainly on suites of court dances.
Francoise Couperin (1668–1733), called Le Grand, is a representative of the second period, which began in the early 18th century. He weaved nuances of the Italian style into his compositions and developed the expressive possibilities of the instrument, which marked the culmination of the French classical school of harpsichord.
In the third period, Claude Benigne Balbastre (1724—1799) continued the tradition of 18th century French harpsichord music with a sophisticated and elegant style, adopting new styles stemming from Italian influences (including Scarlatti) and from salon music. His versatility of composition was expressed in the 1759 collection Pièces de clavecin, which he dedicated to his pupil – Madame De Caze.
On the occasion of 250th anniversary of the death of Giuseppe Tartini (1692–1770), the harpsichordist paid tribute to the Grand Master with the last song on the CD – the first sound recording of his Concerto no. 2 in D major for harpsichord in Slovenia. Violin virtuoso, composer, and pedagogue from Piran (Slovenia) left an indelible mark on European music. He has created an extensive instrumental opus of more than three hundred compositions. He dedicated almost all of his works to the violin. In 1721 he became the first violine of the orchestra of the Church of St. Anton in Padua, and in 1728 founded the renowned international violin school La scuola delle nazioni. He was highly respected and esteemed as students from all over Europe came to him. They named him Il maestro delle nazioni (Master of all nations). With his theoretical discussions in the field of music theory, composition principles and ornamentation, he significantly influenced the development of violin technique and music in general. Interest in Tartini’s music was expressed also by harpsichordists, even students of composer J. S. Bach. Leonhard Frischmuth (1721–1764) arranged the concertos for harpsichord and transposed them from the original key for an interval of a third or a fifth down. He likely did this to make the most of the rich sonority of the middle harpsichord register. He also added rich and virtuoso ornamentation.
Winner of several awards at international music competitions, Eva Dolinšek studied harpsichord at the Academy of Music in Ljubljana at the Department of Early Music with prof. Egon Mihajlović. In 2015 she was awarded summa cum laude due to her extraordinary artistic achievements and excellent performance on her final exam for the Master’s degree. She has introduced herself as a soloist and a chamber musician at festivals such as Festival Ljubljana, Imago Sloveniae International Festival, L’Estate barocca Festival, Amici della Musica Udine, international festival of early music Academia Musicae Antiquae Labacensis in Ljubljana, Risonanze Festival etc.
She actively explores and brings early music back to life through concerts, lectures and academic articles. She is the creative director of the baroque chamber ensemble Musica Nucis. In 2018, she became Assistant professor at the Academy of Music in Ljubljana. She regularly perfects her knowledge under the guidance of Christophe Rousset, an internationally renowned harpsichordist and conductor from France, and Enrico Baiani, an Italian harpsichordist and expert of the Italian baroque literature. In 2016 she issued her first CD titled BAROK.
Admission free. Free tickets can be picked up the last hour before the concert at the entrance to the City Museum. The number of seats is limited, so we advise you to arrive a little earlier.
Due to the amendments to the decree on the temporary restriction of the cultural services, event may be attended only by persons with a certificate of: recovery of covid-19 (P), vaccination (C) or a negative test result, which must not be older than 48 hours (T). Respecting the PCT condition is responsibility of the visitor. Certificate is not required for children under the age of 18 who attend the event with close family members or guardians.
Due to safety measures to contain the spread of COVID-19 infections, all visitors must wear protective facemasks, disinfect their hands regularly, and observe a safety distance of at least 1,5 m.
Entry to the event is only possible with a ticket, visitors are asked to enter the venue individually, hostesses will accompany them to a vacant seat. If you suspect that you have come in contact with the coronavirus or are showing typical signs of the disease, do not attend the event.
