FESTIVAL DRVENIH KAPELA / WOODEN CHAPELS FESTIVAL
Kapela Svete Barbare, Velika Mlaka
7 / 7 / 2019 - otvorenje / opening:
ARS LONGA - ansambl za ranu glazbu / the early music ensemble
Monika Cerovčec, sopran / soprano
Ana Benić, barokna flauta / baroque flute
Stjepan Nodilo, barokna oboa i blokflauta / baroque oboe and recorder
Izidor Erazem Grafenauer, teorba i barokna gitara / theorbo and baroque guitar
Lea Sušanj Lujo, barokno čelo / baroque cello
Linda Mravunac Fabijanić, čembalo / harpsichord
PROGRAM
Henry Purcell (1659. – 1695.)
Trio sonata u a - molu, Z.804
Grave
Largo
Adagio
Canzona (Allegro)
Grave
Aria They tell us that you mighty powers above
Iz opere The Indian Queen, Z. 630, treći čin
William Babell (1688. – 1723.)
Sonata za solo instrument i basso continuo u F - duru
Adagio
Vivace
Adagio
Alegro
Henry Purcell
Aria O let me weep
iz opere The Fairy-Queen, Z.629, peti čin
William Croft (1678. – 1727.)
Suita Br. 14 u g - molu za solo čembalo
Aire
Minuett Prelude
Henry Purcell
Aria Fairest Isle
Iz opere King Arthur, or The British Worthy, Z. 628, peti čin
John Blow (1649. – 1708.)
Iz opere Venus and Adonis, drugi čin
The insolent, the arrogant
Call the graces
Mortals below, Cupids above
The Graces' Dance
Gavatt
Saraband for the Graces
A Ground
Henry Purcell
Večernja himna Now that the sun hath veiled his light, Z193
Drvene crkve i kapele predstavljaju najviši domet narodnog graditeljstva barokne arhitekture
na području Sjeverne Hrvatske. Iako ih je bio velik broj, posebno na području rasta hrasta
lužnjaka, do danas ih brojimo svega četrdesetak iz razdoblja od 17. do kraja 19. stoljeća.
U Turopolju, žarištu koje je koncentracijom izvorne narodne stvaralačke snage širilo svoj
utjecaj na Pokuplje i Posavinu, geografskom prostoru gdje se tradicija gradnje drvenih crkava
zadržala duboko u 20. stoljeće, nastao je kompleks drvene sakralne arhitekture koja osvaja
svojom arhitektonskom jednostavnošću i originalnošću.
festivaldrvenihkapela.com
Wooden churches and chapels represent the peak of the traditional Baroque architecture of North Croatia. Although there were many of them initially, especially in the areas rich in the common oak, merely about 40 of them dating from the 17th to 19th century still remain today.
The complex of wooden sacral architecture which impresses with its architectural simplicity and originality was created in Turopolje, which served as a center of concentrated original traditional creative power spreading its influence onto Pokuplje and Posavina, the geographical space where the tradition of building wooden churches continued deep into the 20th century.
This authentic and valuable piece of cultural heritage offers an exceptionally attractive tourist destination, yet it remains insufficiently presented. Therefore, the Sancta Barbara Wooden Chapels Festival will organize exquisite musical programs in these unique authentic sacred spaces of wooden chapels.
WOODEN CHAPELS FESTIVAL
Sancta Barbara
7 – 14 July 2019
Sunday / 7 July / 8 PM – opening:
St. Barbara Chapel, Velika Mlaka
ARS LONGA – the early music ensemble
Monika Cerovčec, soprano
Ana Benić, baroque flute
Stjepan Nodilo, baroque oboe and recorder
Izidor Erazem Grafenauer, theorbo and theorbo
Lea Sušanj Lujo, baroque cello
Linda Mravunac Fabijanić, harpsichord
Monday / 8 July / 2019 / 8 PM
Chapel of the Wounded Jesus, Pleško polje, Velika Gorica
Anabela Barić, soprano
Izidor Erazem Grafenauer, theorbo and baroque guitar
Wednesday / 10 July / 8 PM
St. George Chapel, Lijevi Štefanki
Andrej Grozdanov, acoustic guitar
Thursday / 11 July / 8 PM
Mark the Evangelist Chapel, Zagreb
Josipa Bilić, soprano
Franjo Bilić, harpsichord
Friday / 12 July / 8 PM
St. Anthony of Padua Chapel, Gustelnica
Branko Mihanović, oboe
Saturday / 13 July / 8 PM
The Holy Trinity Chapel, Gladovec Pokupski
Dubravko Lapaine, didgeridoo
Sunday / 14 July / 8 PM
John the Baptist Chapel, Stara Drenčina
Camerata Garestin
festivaldrvenihkapela.com
Kako je riječ o turistički izrazito atraktivnoj, a nedovoljno prezentiranoj autentičnoj i
vrijednoj kulturnoj baštini, Festivalom drvenih kapela Sancta Barbara - organizirat će se
vrhunski glazbeni programi u ovim jedinstvenim autentičnim posvećenim prostorima drvenih
kapela.
Otvorenje Festivala drvenih kapela možete pratit uživo u nedjelju 7.7.2019. u 20 sati na
festivaldrvenihkapela.com!
Organizator / Organisation: Hrvatska Udruga Ars organi Sisciae
Producent / Producer: Valentina Badanjak Pintarić
Prijenos uživo / Live streaming: Streaming.hr
Zvuk / Sound: Nota bene studio
Dizajn / Design: Ivan Badanjak
Catholic Church and Nazi Germany | Wikipedia audio article
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Catholic Church and Nazi Germany
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SUMMARY
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Popes Pius XI (1922–39) and Pius XII (1939–58) led the Roman Catholic Church through the rise and fall of Nazi Germany. Around a third of Germans were Catholic in the 1930s. The Church in Germany had spoken against the rise of Nazism, but the Catholic aligned Centre Party capitulated in 1933 and was banned. In the various 1933 elections the percentage of Catholics voting for the Nazis party was remarkably lower than the average. Nazi key ideologue Alfred Rosenberg was banned on the index of the Inquisition, presided by later pope Pius XII. Adolf Hitler and several key Nazis had been raised Catholic, but became hostile to the Church in adulthood. While Article 24 of the NSDAP party platform called for conditional toleration of Christian denominations and the 1933 Reichskonkordat treaty with the Vatican purported to guarantee religious freedom for Catholics, the Nazis were essentially hostile to Christianity and the Catholic Church faced persecution in Nazi Germany. Its press, schools and youth organisations were closed, much property confiscated and around one third of its clergy faced reprisals from authorities. Catholic lay leaders were targeted in the Night of the Long Knives purge. The Church hierarchy attempted to co-operate with the new government, but in 1937, the Papal Encyclical Mit brennender Sorge accused the government of fundamental hostility to the church.
Among the most courageous demonstrations of opposition inside Germany were the 1941 sermons of Bishop August von Galen of Münster. Nevertheless, wrote Alan Bullock [n]either the Catholic Church nor the Evangelical Church... as institutions, felt it possible to take up an attitude of open opposition to the regime. In every country under German occupation, priests played a major part in rescuing Jews, but Catholic resistance to mistreatment of Jews in Germany was generally limited to fragmented and largely individual efforts. Mary Fulbrook wrote that when politics encroached on the church, Catholics were prepared to resist, but that the record was otherwise patchy and uneven, and that, with notable exceptions, it seems that, for many Germans, adherence to the Christian faith proved compatible with at least passive acquiescence in, if not active support for, the Nazi dictatorship.Catholics fought on both sides in the Second World War. Hitler's invasion of predominantly Catholic Poland ignited the conflict in 1939. Here, especially in the areas of Poland annexed to the Reich—as in other annexed regions of Slovenia and Austria—Nazi persecution of the church was intense. Many clergy were targeted for extermination. Through his links to the German Resistance, Pope Pius XII warned the Allies of the planned Nazi invasion of the Low Countries in 1940. From that year, the Nazis gathered priest-dissidents in a dedicated clergy barracks at Dachau, where 95 percent of its 2,720 inmates were Catholic (mostly Poles, and 411 Germans) and 1,034 priests died there. Expropriation of church properties surged from 1941.
The Vatican, surrounded by Fascist Italy, was officially neutral during the war, but used diplomacy to aid victims and lobby for peace. Vatican Radio and other media spoke out against atrocities. While Nazi antisemitism embraced modern pseudo-scientific racial principles, ancient antipathies between Christianity and Judaism contributed to European antisemitism. During the Nazi era, the church rescued many thousands of Jews by issuing false documents, lobbying Axis officials, hiding them in monasteries, convents, schools and elsewhere; including in the Vatican and papal residence at Castel Gandolfo. The Pope's role during this period is contested. The Reich Security Main Office called Pius XII a mouthpiece of the Jews. His first encyclical, Summi Pontificatus, called the invasion of Poland an hour of darkness, his 1942 Christmas address denounced race murders and his Mystici corporis Christi encyclical (1943) denounc ...