Zieleński’s journey to Venice
Biagio Marini (1594 – 1663)
Sonata in Ecco con tre violini
Mikolaj Zieleński (c. 1550 – c. 1615)
Gustate et videte
Alessandro Grandi (1590 – 1630)
Tarquinio Merula in Warsaw
Adam Jarzębski (c. 1590 – 1648)
Tarquinio Merula (1595 – 1665)
Intonazione del nono tono
Marcin Mielczewski (c. 1600 – 1651)
Canzona à 4
Su la cetra amorosa – Ciaconna
Impressions of Poland
Giovanni Picchi (c. 1571 – 1643)
Ballo alla Polacca
Johann Heinrich Schmelzer (c. 1620 – 1680)
Gdansk, the Baltic Sea port
Crato Büttner (1616 – 1679)
Ich suchte des Nachts
Carlo Farina (c. 1600 – 1639)
Kaspar Förster (1616 – 1673)
Vanitas Vanitatum (extract)
The enigmatic Szarzyński
Stanisław Sylwester Szarzyński (fl. 1692-1713)
Sonata à 2
With the participation of Maïlys de Villoutreys, soprano
Stéphanie de Failly, violin and direction
Amandine Solano, violin
Ellie Nimeroski, violin and viola
Sarah Van Oudenhove, bass viol
Brice Sailly, harpsichord, organ and direction
Poland: Airs and dances alla Polacca!
Tuesday July 28th, 21:00 – Valloire church
In the 17th century, musical life picks up momentum in Poland as Polish musicians readily embrace the novelties of Italian Baroque. Mikolaj Zieleński thus spends some time in Venice where he has a collection of sacred works published. As early as 1624, Tarquinio Merula leaves Venice for a post as organist at the court at Warsaw. At about the same time, Marco Schacchi has some of his operas and ballets performed there.
Italian influence shows in the compositions of local musicians such as Marcin Mielczewski, Adam Jarzębski or Sylwester Szarzyński and can even be felt at Gdansk, where Carlo Farina then resides, in the works of composers born from Lutheran communities, such as Crato Bütter or Kapsar Förster. This is probably why, as a remembrance of these contacts with Polish popular music, composers from Italy, as Picchi, or Austria, as Schmelzer, will compose dances said alla Polacca, imitating Polish bagpipes.
The clematis is a symbol of idealism and creativeness. Guided by these two principles, violinist Stéphanie de Failly creates the Clematis ensemble in 2001 to explore the lesser-known repertoire of the 17th century. All active within the best baroque ensembles, the musicians are chosen for their adequacy with each specific project. The ensemble travels extensively, in Belgium and abroad. It approaches the Italian repertoire as well as German or French works, and breathes new life into the forgotten pages of composers such as Nicolaus à Kempis, Carolus Hacquart or Gioseffe Zamponi whose opera “Ulisse all’isola di Circe” Clematis has restored and re-created. Highly interested in the expansion of the violin repertoire, Clematis has made recordings devoted to Carlo Farina, Giovanni Battista and Tomaso Antonio Vitali whose famous “Ciaconna” Stéphanie de Failly has recorded. Since 2018, Clematis has been co-directed by Stéphanie de Failly and Brice Sailly.
Stéphanie de Failly trains classical violinists in “historically informed” performance practices at the Royal Conservatoire of Liège and coaches “modern” ensembles for the interpretation of baroque works. She plays a 1699 Giovanni Battista Rogeri violin.
Brice Sailly is a continuo player, much sought after by all major ensembles.
He teaches at the Conservatoire à Rayonnement Régional of Rueil-Malmaison.
Maïlys de Villoutreys is regularly invited by a number of ensembles: Les Folies Françoises, Amarillis, La Rêveuse, Desmarest, Pygmalion for Bach’s Cantatas and Passions, les Musiciens du Louvre, Le Banquet Céleste, Die Kölner Akademie…
Her operatic repertoire includes Barberina, Pamina, Amour (“Orphée et Eurydice”), Melia (“Apollo et Hyacinthus”), Clarine (“Platée”). From 2014 to 2017, she is the Coquette in “La Double Coquette”, a baroque and contemporary opera by Dauvergne and Pesson, played a number of times both in France and abroad.
Andreas Hammerschmidt : Nun danket alle Gott
by the Clematis ensemble with the participation of soprano Julie Roset (heard at Valloire in 2018)