WAWEL MYSTERIUM: IN MOTU
In the heart of Wawel Castle’s royal chambers, an art that weaves music, movement and space into one comes to life. The Wawel Mysterium: In motu is an extraordinary encounter between history and vivid gesture and sound, in which the subtlety of Baroque music merges with the artistry of dance in the setting of historic interiors.
In the first part of the evening, the stage will be set for three Wawel halls – each presenting a different dimension of artistic creation. In the Envoys’ Hall, the cello, violin and harpsichord will resound under the watchful gaze of the carved Renaissance heads looking down from the ceiling. Four dancers from the Les Corps Éloquents ensemble will enliven the space with movement, creating a graceful dialogue between body and music. In the Zodiac Room decorated with a frieze with symbols of the cosmic order, the subtle sounds of the harpsichord will meet with dance to tell a story of the transience of beauty through music and gesture. The last of these three stories, outlined by a harmony of sounds and minimalist dance, will be admired in the Eagle Room.
In the programme for this part of the evening, we will be accompanied by music composed by French Baroque masters: Jean-Baptiste Lully, André Campra, Marin Marais, François Couperin and Jean-Féry Rebel, which will be performed by the Le Grand Ballet ensemble, harpsichordists Aleksander Mocek and Andrzej Zawisza, and flautist Radosław Orawski. The whole will be highlighted by the exceptional choreographies of Pierre Beauchamps, Raoul Feuillet and Guillaume-Louis Pécour – masters of dance from Louis XIV’s era. In the interpretation by the musicians and dancers, each hall will become a separate world immersed in the dialogue between sound, movement and space.
The evening’s finale will bring the audience together in the stately Senators’ Hall, whose monumental interior will be filled with the music of the great masters. {oh!} Orkiestra under the artistic direction of Martyna Pastuszka and soloist Piotr Olech will present a moving instrumental and vocal programme. It will start with a melancholic lament: Ach, dass ich Wassers g’nug hätte by Johann Christoph Bach, in which a poignant voice penetrates the depths of human emotion, followed by Antonio Vivaldi’s Stabat Mater full of spiritual intensity, in which pain and hope are intertwined in a universal expression of faith and suffering.
Plan of the WAWEL MYSTERIUM: IN MOTU
Part I
The first part of the evening will take the form of an individual walk through the chambers. Musicians and dancers will perform simultaneously in three designated halls.
Envoys’ Hall: Andrzej Zawisza (harpsichord), Radosław Orawski (traverso)
Zodiac Room: Le Grand Ballet & Les Corps Éloquents
Eagle Room: Aleksander Mocek (harpsichord)
Duration: 30 min
Part II
In the second part of the evening, all listeners are invited to attend a seated concert (unnumbered seats) in the Senators’ Hall.
Duration: 30 min
ENVOYS HALL
Performers:
Radosław Orawski – traverso
Andrzej Zawisza – harpsichord
Programme:
Jean-Baptiste Lully (1632–1687) Airs I et II [Rigaudons] from Acis et Galatée
Choreography: anonymous, Ms. Deslan
André Campra (1660–1744) Aimable vainqueur from Hésione
Choreography: Guillaume-Louis Pécour, 1701
Louis Marchand (1669–1732) Prélude & Chaconne from Suite in D minor (Pièces de clavecin)
Charles Dieupart (1676–1751) Sarabande from Suite in F minor (Six Suites de clavecin)
Choreography: Pierre Beauchamps, ca. 1700
Je suis charmé d’une brune from Brunettes, ou petits airs tendres (anonymous, 1703)
Theobaldo di Gatti (1650–1727) Gigue from Scylla
Choreography: Guillaume-Louis Pécour, 1704
Louis Couperin (1626–1661) Courante & La Piémontoise
André Campra Forlane from Le Carnaval de Venise
Choreography: Guillaume-Louis Pécour, 1704
André Campra Air des Polichinels from Les Fêtes vénitiennes
Choreography: Guillaume-Louis Pécour, ca. 1713
Jacques-Martin Hotteterre (1673–1763) Rochers, je ne veux point que votre écho fidèle (Airs et brunettes)
Antoine Dornel (1680–1765) Flute Suite No. 2 in B minor, Op. 2 No. 10 (Sonates à violon seul et suites pour la flûte traversière)
- Prélude. L’aimé de Mr de la Barre
- La Chauvet
III. Sarabande. La Descosteaux
- La Rochelloise. Gavotte en rondeau
- La Feideau. Gigue
ZODIAC ROOM
Performers:
Ensemble Le Grand Ballet
Matthieu Franchin (harpsichord and musical direction), Charlotte Gerbitz (violin), Noémie Lenhof (viola da gamba)
Compagnie Les Corps Éloquents
Hubert Hazebroucq (dancer and choreographic direction), Emma Brest, Irène Feste, Antonin Pinget (dancers)
Programme:
François Couperin (1668–1733) Ouverture from Huitième Concert (Les Goûts réunis)
François Couperin Allemande from Premier Concert (Concerts royaux)
André Campra (1660–1744) Menuets from Idoménée
Choreography: Gottfried Taubert, 1717
La Blonde & La Brune (anonymous)
Choreography: Jacques Dezais, 1726
Jean-Féry Rebel (1666-1747) Prélude from Suite in D major (Pièces pour le violon)
Jean-Baptiste Lully (1632–1687) Passacaille from Persée
Choreography: Guillaume-Louis Pécour, 1704
Jean-Féry Rebel Courante from Sonata in G minor No. 7 (Sonates à violon seul)
André Campra Premier air pour les Espagnols from L’Europe galante
Choreography: Guillaume-Louis Pécour, 1704
Marin Marais (1656–1728) Le Grand Ballet from Suite in A minor (Pièces de viole, Livre IV)
François Couperin (1668–1733) La Tromba from Dixième Concert (Les Goûts réunis)
Marin Marais Premier air des Matelots from Alcyone
Choreography: Claude Ballon, 1720
Marin Marais Deuxième air des Matelots from Alcyone
Choreography: Harlequinade, anonymous, ca. 1715
Jean-Féry Rebel Vite from Sonata in D major No. 5 (Sonates à violon seul)
La Furstemberg (anonymous)
Choreography: Raoul Feuillet, ca. 1706
Jean-Baptiste Lully Chaconne d’Arlequin from Le Bourgeois gentilhomme
François Couperin Gigue from Premier Concert (Concerts royaux)
EAGLE ROOM
Performer:
Aleksander Mocek – harpsichord
Programme:
La Bourgogne (anonymous)
Choreography: Guillaume-Louis Pécour, 1700
André Campra (1660–1744) Allemande (Fragments)
Choreography: Guillaume-Louis Pécour, 1702
Jean-Henri d’Anglebert (1629–1691) Prélude – Allemande – Les sourdines d’Armide from Suite en sol mineur (Pièces de clavecin)
Jean-Baptiste Lully (1632–1687) Passacaille d’Armide from Armide (transcription by Jean-Henri d’Anglebert)
Choreography: Guillaume-Louis Pécour, ca. 1713
Jean-Henri d’Anglebert Gigue & Menuet de Poitou from Suite en sol mineur (Pièces de clavecin)
Jean-Baptiste Lully Chaconne d’Arlequin from Le Bourgeois gentilhomme
Choreography: Raoul Feuillet, ca. 1706
André Campra Air paysan from L’Europe galante
Choreography: Raoul Feuillet, ca. 1706
François Couperin (1668–1733) Première courante – Gavotte – Menuet – La Garnier from Second ordre (Pièces de clavecin, Livre I)
Gaspard Le Roux (1670–1707) Chaconne in F major (Pièces de clavecin)
Choreography: Hubert Hazebroucq
SENATORS’ HALL
Performers:
Piotr Olech – alto
{oh!} Orkiestra
Martyna Pastuszka – concertmaster, artistic director
Programme:
Johann Christoph Bach (1642–1703) Ach, dass ich Wassers g´nug hätte
Antonio Vivaldi (1678–1741) Stabat Mater RV 621
Organizers
