{"id":3079,"date":"2017-07-11T13:48:22","date_gmt":"2017-07-11T11:48:22","guid":{"rendered":"https:\/\/instytutpolski.pl\/brussels\/?p=3079"},"modified":"2020-05-07T13:50:52","modified_gmt":"2020-05-07T11:50:52","slug":"fantasiae-cantiones-choreae-music-of-the-sixteenth-century-poland","status":"publish","type":"post","link":"https:\/\/instytutpolski.pl\/brussels\/en\/2017\/07\/11\/fantasiae-cantiones-choreae-music-of-the-sixteenth-century-poland\/","title":{"rendered":"Fantasiae, cantiones &amp; choreae &#8211; Music of the sixteenth century Poland"},"content":{"rendered":"\n<div class=\"desc\" style=\"margin-right: 0px;margin-bottom: 5px;margin-left: 0px;padding: 0px;font-size: 12px;line-height: 21.6px;color: #000000;font-family: Verdana, Arial, Helvetica, sans-serif\">\n<p style=\"font-size: 12px;line-height: 19.2px\">The\u00a0<strong style=\"line-height: 19.2px\">sixteenth century&#8217;s music with Polish connotations<\/strong>\u00a0will be present at the 31 edition of the Brussels festival\u00a0<a style=\"color: #bdc0c2;line-height: 19.2px;cursor: pointer\" href=\"http:\/\/www.midis-minimes.be\/\"><strong style=\"line-height: 19.2px\">Midis Minimes<\/strong><\/a>\u00a0(at the\u00a0<strong style=\"line-height: 19.2px\">Royal\u00a0Conservatory of Brussels<\/strong>) and at the\u00a0<a style=\"color: #bdc0c2;line-height: 19.2px;cursor: pointer\" href=\"https:\/\/www.30cc.be\/nl\/programma\/item\/zomer-van-sint-pieter-2017\"><strong style=\"line-height: 19.2px\">Zomer van Sint-Pieter<\/strong><\/a>\u00a0festival\u00a0(in the\u00a0<strong style=\"line-height: 19.2px\">Predikherenkerk<\/strong>\u00a0church of Leuven).\u00a0<br style=\"line-height: 19.2px\" \/>This music, from the period that is traditionally considered to have been Poland\u2019s \u201cGolden Age\u201d,\u00a0is symptomatic of a vogue for \u201cPolish songs\u201c and \u201cPolish dances\u201d which soon after was to spread across Europe, achieving what might have been the widest distribution of a fairly obvious, and yet hard to pinpoint musical \u201cPolishness\u201d before Chopin.<br style=\"line-height: 19.2px\" \/>Traditions of\u00a0<strong style=\"line-height: 19.2px\">keyboard and lute playing<\/strong>\u00a0have been interrelated since the fifteenth century, with players often capable of performing on either. Despite producing distinctive sounds, the harpsichord and the lute \u2013 both plucked stringed instruments \u2013 blend quite naturally. To explore their combined sound,\u00a0<a style=\"color: #bdc0c2;line-height: 19.2px;cursor: pointer\" href=\"http:\/\/www.culturepolonaise.eu\/3,4,778,en,Fantasiae_cantiones__choreae_-_Music_of_the_sixteenth_century_Poland#eux\"><strong style=\"line-height: 19.2px\">Corina MARTI<\/strong>\u00a0and\u00a0<strong style=\"line-height: 19.2px\">Micha\u0142 GONDKO<\/strong><\/a>\u00a0have derived their own \u201cduo\u201d versions from existing pieces of vocal and instrumental music. Intersperced between them are compositions intended for solo performance on each instrument.<br style=\"line-height: 19.2px\" \/><br style=\"line-height: 19.2px\" \/>+++\u00a0<a style=\"color: #bdc0c2;line-height: 19.2px;cursor: pointer\" href=\"http:\/\/culturepolonaise.eu\/99,99,0,fr?bn=419___Gondko_Marti245108&amp;ex=pdf&amp;t=doc&amp;mt=application%2Fpdf\" target=\"_blank\" rel=\"noopener noreferrer\">download the presentation text by Micha\u0142 GONDKO<\/a>\u00a0(in our digital library)<br style=\"line-height: 19.2px\" \/>+++\u00a0<a style=\"color: #bdc0c2;line-height: 19.2px;cursor: pointer\" href=\"http:\/\/www.culturepolonaise.eu\/3,4,778,en,Fantasiae_cantiones__choreae_-_Music_of_the_sixteenth_century_Poland#infos\">Practical information<\/a>\u00a0<br style=\"line-height: 19.2px\" \/><br style=\"line-height: 19.2px\" \/><strong style=\"line-height: 19.2px\">PROGRAMME<\/strong><\/p>\n<ul style=\"list-style-type: none;margin-top: 0px;margin-right: 0px;margin-bottom: 0px;padding: 0px 0px 0px 35px;line-height: 19.2px\">\n<li style=\"list-style-type: disc;margin: 0px;padding: 0px 0px 0px 5px;line-height: 19.2px\">Anon. \u2013\u00a0<em style=\"line-height: 19.2px\">Rex\u00a0<\/em>(from Jan z Lublina\u2019s\u00a0<em style=\"line-height: 19.2px\">Livre d\u2019orgue<\/em>)<\/li>\n<li style=\"list-style-type: disc;margin: 0px;padding: 0px 0px 0px 5px;line-height: 19.2px\">Miko\u0142aj z Krakowa [Nicolaus Cracoviensis], fl.\u00a01<sup style=\"font-size: 12px;line-height: 19.2px\">st<\/sup>\u00a0half of the XVI\u00a0century? \u2013\u00a0<em style=\"line-height: 19.2px\">Bona cor[ea?]<\/em><\/li>\n<li style=\"list-style-type: disc;margin: 0px;padding: 0px 0px 0px 5px;line-height: 19.2px\">Benedictus de Drusina, fl.\u00a01556-1573 \u2013\u00a0<em style=\"line-height: 19.2px\">Fantasia<\/em><\/li>\n<li style=\"list-style-type: disc;margin: 0px;padding: 0px 0px 0px 5px;line-height: 19.2px\">Miko\u0142aj z Krakowa? \u2013\u00a0<em style=\"line-height: 19.2px\">Ave ierarchia<\/em><\/li>\n<li style=\"list-style-type: disc;margin: 0px;padding: 0px 0px 0px 5px;line-height: 19.2px\">Anon. \u2013\u00a0<em style=\"line-height: 19.2px\">Polnischer Tantz<\/em><\/li>\n<li style=\"list-style-type: disc;margin: 0px;padding: 0px 0px 0px 5px;line-height: 19.2px\">Miko\u0142aj Gom\u00f3\u0142ka, ca.\u00a01535-ca.\u00a01609 \u2013\u00a0<em style=\"line-height: 19.2px\">Kleszczmy r\u0119koma<\/em><\/li>\n<li style=\"list-style-type: disc;margin: 0px;padding: 0px 0px 0px 5px;line-height: 19.2px\">Miko\u0142aj z Krakowa? \u2013\u00a0<em style=\"line-height: 19.2px\">Praeambulum in G per B<\/em><\/li>\n<li style=\"list-style-type: disc;margin: 0px;padding: 0px 0px 0px 5px;line-height: 19.2px\">Miko\u0142aj z Krakowa \u2013\u00a0<em style=\"line-height: 19.2px\">Zaklolam sz\u00ffa Tharnem<\/em><\/li>\n<li style=\"list-style-type: disc;margin: 0px;padding: 0px 0px 0px 5px;line-height: 19.2px\">Albertus Ambrosius D\u0142ugoraj, ca.\u00a01557-ca.\u00a01619 \/ Anon. \u2013\u00a0<em style=\"line-height: 19.2px\">Chorea polonica \/ Cantio polonica<\/em><\/li>\n<li style=\"list-style-type: disc;margin: 0px;padding: 0px 0px 0px 5px;line-height: 19.2px\">Anon. \u2013\u00a0<em style=\"line-height: 19.2px\">Jeszcze Marczynye\u00a0<\/em>(from Jan z Lublina\u2019s\u00a0<em style=\"line-height: 19.2px\">Livre d\u2019orgue<\/em>)<\/li>\n<li style=\"list-style-type: disc;margin: 0px;padding: 0px 0px 0px 5px;line-height: 19.2px\">Miko\u0142aj z Krakowa? \u2013\u00a0<em style=\"line-height: 19.2px\">Ha\u00ffduczk\u00ff<\/em><\/li>\n<li style=\"list-style-type: disc;margin: 0px;padding: 0px 0px 0px 5px;line-height: 19.2px\">Wac\u0142aw z Szamotu\u0142, ca.\u00a01524-ca.\u00a01560 \u2013\u00a0<em style=\"line-height: 19.2px\">Kryste dnyu nassey swyatlosci<\/em><\/li>\n<li style=\"list-style-type: disc;margin: 0px;padding: 0px 0px 0px 5px;line-height: 19.2px\">Anon. \u2013\u00a0<em style=\"line-height: 19.2px\">Potorae Koniginn inn\u00a0Polen Tantz\u00a0<\/em>(from the\u00a0<em style=\"line-height: 19.2px\">Emanuel Wurstisen Lute Book<\/em>)<\/li>\n<li style=\"list-style-type: disc;margin: 0px;padding: 0px 0px 0px 5px;line-height: 19.2px\">Anon. \u2013\u00a0<em style=\"line-height: 19.2px\">Fantasia primi toni<\/em>\u00a0(from the\u00a0<em style=\"line-height: 19.2px\">Gda\u0144sk Manuscript<\/em>)<\/li>\n<li style=\"list-style-type: disc;margin: 0px;padding: 0px 0px 0px 5px;line-height: 19.2px\">Christoph L\u00f6ffelholz? \u2013\u00a0<em style=\"line-height: 19.2px\">Ein gutter polnischer Tantz<\/em><\/li>\n<\/ul>\n<p style=\"font-size: 12px;line-height: 19.2px\">Corina MARTI\u00a0\u2013 Renaissance harpsichord<br style=\"line-height: 19.2px\" \/>Micha\u0142 GONDKO\u00a0\u2013 Renaissance lute<\/p>\n<hr style=\"line-height: 19.2px\" \/><a style=\"color: #bdc0c2;line-height: 19.2px;cursor: pointer\" name=\"infos\"><\/a><br style=\"line-height: 19.2px\" \/><strong style=\"line-height: 19.2px\">PRACTICAL INFORMATION<br style=\"line-height: 19.2px\" \/><\/strong><br style=\"line-height: 19.2px\" \/><span style=\"line-height: 19.2px;color: #ffffff;background-color: #ff0000\"><strong style=\"line-height: 19.2px\">\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Midis\/Minimes festival \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/strong><\/span><br style=\"line-height: 19.2px\" \/>&gt;&gt;&gt;\u00a0<strong style=\"line-height: 19.2px\">Royal Conservatory of Brussels\u00a0<\/strong>(Rue de la R\u00e9gence 30A, \u00a01000 Brussels) &#8211;\u00a0<a style=\"color: #bdc0c2;line-height: 19.2px;cursor: pointer\" href=\"http:\/\/www.culturepolonaise.eu\/3,4,778,en,Fantasiae_cantiones__choreae_-_Music_of_the_sixteenth_century_Poland#map\">see map<\/a><br style=\"line-height: 19.2px\" \/>&gt;&gt;&gt; Tuesday\u00a0<strong style=\"line-height: 19.2px\">11 July\u00a0<\/strong>2017 &#8211;\u00a0<strong style=\"line-height: 19.2px\">12:15<\/strong><br style=\"line-height: 19.2px\" \/>&gt;&gt;&gt;\u00a0<strong style=\"line-height: 19.2px\">\u20ac<\/strong><strong style=\"line-height: 19.2px\">5<\/strong>\u00a0|\u00a0<strong style=\"line-height: 19.2px\">free<\/strong>\u00a0(-13)<br style=\"line-height: 19.2px\" \/><br style=\"line-height: 19.2px\" \/><span style=\"line-height: 19.2px;color: #ffffff;background-color: #ff0000\"><strong style=\"line-height: 19.2px\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Zomer van Sint-Pieter\u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/strong><\/span><br style=\"line-height: 19.2px\" \/>&gt;&gt;&gt;\u00a0<strong style=\"line-height: 19.2px\">30CC Cultural Center\/Predikherenkerk chuch\u00a0<\/strong>(Onze-Lieve-Vrouwstraat, 3000 Leuven) \u2013\u00a0<a style=\"color: #bdc0c2;line-height: 19.2px;cursor: pointer\" href=\"http:\/\/www.culturepolonaise.eu\/3,4,778,en,Fantasiae_cantiones__choreae_-_Music_of_the_sixteenth_century_Poland#map1\">see map<\/a><br style=\"line-height: 19.2px\" \/>&gt;&gt;&gt; Wednesday\u00a0<strong style=\"line-height: 19.2px\">12 July\u00a0<\/strong>2017 &#8211;\u00a0<strong style=\"line-height: 19.2px\">12:15<\/strong><br style=\"line-height: 19.2px\" \/>&gt;&gt;&gt;\u00a0<strong style=\"line-height: 19.2px\">\u20ac<\/strong><strong style=\"line-height: 19.2px\">6<\/strong>\u00a0|\u00a0<strong style=\"line-height: 19.2px\">free<\/strong>\u00a0(-12)<hr style=\"line-height: 19.2px\" \/>\n<p style=\"font-size: 12px;line-height: 19.2px\"><a style=\"color: #bdc0c2;line-height: 19.2px;cursor: pointer\" name=\"eux\"><\/a><br style=\"line-height: 19.2px\" \/><strong style=\"line-height: 19.2px\">Corina Marti<\/strong>\u2019s performances recorders and harpsichord have been praised as &#8222;strikingly superior and expressive&#8221; (<em style=\"line-height: 19.2px\">Toccata<\/em>) and &#8222;infallible&#8221; (<em style=\"line-height: 19.2px\">Diapason<\/em>). Native from Switzerland, she graduated from the Lucerne Academy of Music, and later from the &#8222;Schola Cantorum Basiliensis&#8221;, where she now teaches early recorders and keyboard instruments. Her work has helped to bring about the present-day revival of these instruments.<br style=\"line-height: 19.2px\" \/><strong style=\"line-height: 19.2px\">Micha\u0142 Gondko<\/strong>, in whose hands &#8222;phrases come across like extempore thoughts chasing each other across the imagination, an effect many try for but very few succeed&#8221; (<em style=\"line-height: 19.2px\">Lute News<\/em>, UK), studied classical guitar in his native Poland prior to focusing exclusively on historical plucked instruments of the lute family at the &#8222;Schola Cantorum Basiliensis&#8221;, where he studied with Hopkinson Smith. He is one of the leading lutenists of his generation.<br style=\"line-height: 19.2px\" \/>Marti and Gondko are the driving force behind the ensemble\u00a0<strong style=\"line-height: 19.2px\">LA MORRA<\/strong>\u00ab which, since its inception in 2000, has gained wide recognition for interpretations of late Medieval and early Renaissance repertoires that &#8222;never fail to keep the listener\u2019s attention alive&#8221; (<em style=\"line-height: 19.2px\">Gramophone<\/em>). They have jointly led &#8222;La Morra&#8221; in numerous live appearances and recordings, inspiring enthusiastic response worldwide and earning such marks of musical distinction as the &#8222;Diapason d&#8217;Or&#8221;, the &#8222;Jahrespreis der deutschen Schallplattenkritik&#8221;, the American Musicological Society&#8217;s &#8222;Noah Greenberg Award&#8221; as well as &#8222;Gramophone&#8221; and &#8222;International Classical Music Award&#8221; nominations. In addition, Gondko is recipient of &#8222;Fryderyk&#8221;, a prize awarded by the Association of Polish Audio-Video Producers.<br style=\"line-height: 19.2px\" \/>Besides CDs with La Morra, their discography features an acclaimed CD of early German music for keyboard and plucked stringed instruments (<em style=\"line-height: 19.2px\">Von edler Art<\/em>). Both Marti and Gondko appear regularly as recitalists on their respective instruments. Marti devoted her debut solo album (<em style=\"line-height: 19.2px\">I dilettosi fiori<\/em>) to the instrumental music of the fourteenth century and has recently been focusing on the sixteenth-century Italian and Polish keyboard repertoire. Polish contribution to the renaissance lute repertoire is the topic of Gondko\u2019s debut solo album (<em style=\"line-height: 19.2px\">Polonica<\/em>). He has recently been exploring early seventeenth-century solo lute music from sources produced in the Baltic Sea area. Marti\u2019s discography of Baroque music includes recorder concertos by Francesco Mancini and Alessandro Scarlatti, as well as chamber music by Charles Dieupart and Johann Sebastian Bach.<br style=\"line-height: 19.2px\" \/>While primarily busy with their own early music projects, they still find time for musical collaborations and have shared the stage with such musicians as Dame Emma Kirkby and Jordi Savall, among others.<br style=\"line-height: 19.2px\" \/>Concert tours have led them to the majority of European countries, as well as to the USA, Brasil, China, Japan and the countries of the Middle East.<\/p>\n<hr style=\"line-height: 19.2px\" \/>\n<p style=\"font-size: 12px;line-height: 19.2px\"><a style=\"color: #bdc0c2;line-height: 19.2px;cursor: pointer\" name=\"map\"><\/a><\/p>\n<\/div>\n<h3 class=\"boxTitle\" style=\"margin-top: 20px;margin-bottom: 10px;padding: 0px 0px 0px 5px;font-size: 12px;line-height: 19.2px;clear: both;width: 275px;background-color: #000000;color: #ffffff;font-family: Verdana, Arial, Helvetica, sans-serif\">Links<\/h3>\n<ul class=\"linkList\" style=\"list-style-type: none;margin-top: 0px;margin-right: 0px;margin-bottom: 20px;padding: 0px;font-size: 12px;line-height: 19.2px;width: 572px;color: #000000;font-family: Verdana, Arial, Helvetica, sans-serif\">\n<li style=\"list-style-type: none;margin: 0px;padding: 5px 0px;line-height: 21.6px\"><img decoding=\"async\" style=\"line-height: 19.2px\" src=\"http:\/\/www.culturepolonaise.eu\/99,99,0,en?bn=Midis_minimes_2017280108236970&amp;ex=jpg&amp;t=image&amp;mt=image%2Fjpeg&amp;width=128&amp;height=64\" alt=\"\" \/>\u00a0Midis-Minimes:\u00a0<a style=\"color: #bdc0c2;line-height: 19.2px;cursor: pointer\" href=\"http:\/\/www.midis-minimes.be\/fr\/\" target=\"_blank\" rel=\"noopener noreferrer\">http:\/\/www.midis-minimes.be\/fr\/<\/a><\/li>\n<li style=\"list-style-type: none;margin: 0px;padding: 5px 0px;line-height: 21.6px\"><img decoding=\"async\" style=\"line-height: 19.2px\" src=\"http:\/\/www.culturepolonaise.eu\/99,99,0,en?bn=ZomerVanSintPieter2017438058189699&amp;ex=jpg&amp;t=image&amp;mt=image%2Fjpeg&amp;width=128&amp;height=64\" alt=\"\" \/>\u00a0Zomer van Sint-Pieter:\u00a0<a style=\"color: #bdc0c2;line-height: 19.2px;cursor: pointer\" href=\"https:\/\/www.30cc.be\/nl\/zomer\" target=\"_blank\" rel=\"noopener noreferrer\">https:\/\/www.30cc.be\/nl\/zomer<\/a><\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>The\u00a0sixteenth century&#8217;s music with Polish connotations\u00a0will be present at the 31 edition of the Brussels festival\u00a0Midis Minimes\u00a0(at the\u00a0Royal\u00a0Conservatory of Brussels) and at the\u00a0Zomer van Sint-Pieter\u00a0festival\u00a0(in the\u00a0Predikherenkerk\u00a0church of Leuven).\u00a0This music, from the period that is traditionally considered to have been Poland\u2019s \u201cGolden Age\u201d,\u00a0is symptomatic of a vogue for \u201cPolish songs\u201c and \u201cPolish dances\u201d which soon after [&hellip;]<\/p>\n","protected":false},"author":127,"featured_media":3077,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[96],"tags":[],"class_list":["post-3079","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v24.6 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Fantasiae, cantiones &amp; choreae - Music of the sixteenth century Poland - Instytut Polski w Brukseli<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/instytutpolski.pl\/brussels\/en\/2017\/07\/11\/fantasiae-cantiones-choreae-music-of-the-sixteenth-century-poland\/\" \/>\n<meta property=\"og:locale\" content=\"pl_PL\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Fantasiae, cantiones &amp; choreae - Music of the sixteenth century Poland - Instytut Polski w Brukseli\" \/>\n<meta property=\"og:description\" content=\"The\u00a0sixteenth century&#8217;s music with Polish connotations\u00a0will be present at the 31 edition of the Brussels festival\u00a0Midis Minimes\u00a0(at the\u00a0Royal\u00a0Conservatory of Brussels) and at the\u00a0Zomer van Sint-Pieter\u00a0festival\u00a0(in the\u00a0Predikherenkerk\u00a0church of Leuven).\u00a0This music, from the period that is traditionally considered to have been Poland\u2019s \u201cGolden Age\u201d,\u00a0is symptomatic of a vogue for \u201cPolish songs\u201c and \u201cPolish dances\u201d which soon after [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/instytutpolski.pl\/brussels\/en\/2017\/07\/11\/fantasiae-cantiones-choreae-music-of-the-sixteenth-century-poland\/\" \/>\n<meta property=\"og:site_name\" content=\"Instytut Polski w Brukseli\" \/>\n<meta property=\"article:published_time\" content=\"2017-07-11T11:48:22+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2020-05-07T11:50:52+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2020\/05\/99990fr-3-3.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"572\" \/>\n\t<meta property=\"og:image:height\" content=\"354\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"dyjakn\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Napisane przez\" \/>\n\t<meta name=\"twitter:data1\" content=\"dyjakn\" \/>\n\t<meta name=\"twitter:label2\" content=\"Szacowany czas czytania\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minuty\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"event\",\"@id\":\"https:\/\/instytutpolski.pl\/brussels\/en\/2017\/07\/11\/fantasiae-cantiones-choreae-music-of-the-sixteenth-century-poland\/\",\"url\":\"https:\/\/instytutpolski.pl\/brussels\/en\/2017\/07\/11\/fantasiae-cantiones-choreae-music-of-the-sixteenth-century-poland\/\",\"name\":\"Fantasiae, cantiones &amp; choreae - Music of the sixteenth century Poland\",\"isPartOf\":{\"@id\":\"https:\/\/instytutpolski.pl\/brussels\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/instytutpolski.pl\/brussels\/en\/2017\/07\/11\/fantasiae-cantiones-choreae-music-of-the-sixteenth-century-poland\/#primaryimage\"},\"image\":[\"https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2020\/05\/99990fr-3-3.jpg\",\"https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2020\/05\/99990fr-3-3-300x186.jpg\",\"https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2020\/05\/99990fr-3-3.jpg\",\"https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2020\/05\/99990fr-3-3.jpg\"],\"thumbnailUrl\":\"https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2020\/05\/99990fr-3-3.jpg\",\"datePublished\":\"2017-07-11T11:48:22+02:00\",\"dateModified\":\"2020-05-07T11:50:52+02:00\",\"author\":{\"@id\":\"https:\/\/instytutpolski.pl\/brussels\/#\/schema\/person\/ccb27e6f37dc023e9a8d394b9bc37c18\"},\"breadcrumb\":{\"@id\":\"https:\/\/instytutpolski.pl\/brussels\/en\/2017\/07\/11\/fantasiae-cantiones-choreae-music-of-the-sixteenth-century-poland\/#breadcrumb\"},\"inLanguage\":\"pl-PL\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/instytutpolski.pl\/brussels\/en\/2017\/07\/11\/fantasiae-cantiones-choreae-music-of-the-sixteenth-century-poland\/\"]}],\"@context\":\"https:\/\/schema.org\",\"startDate\":\"2017-07-11\",\"endDate\":\"2017-07-12\",\"eventStatus\":\"EventScheduled\",\"eventAttendanceMode\":\"OfflineEventAttendanceMode\",\"location\":{\"@type\":\"place\",\"name\":\"\",\"address\":\"\",\"geo\":{\"@type\":\"GeoCoordinates\",\"latitude\":\"\",\"longitude\":\"\"}},\"description\":\"The\u00a0sixteenth century's music with Polish connotations\u00a0will be present at the 31 edition of the Brussels festival\u00a0Midis Minimes\u00a0(at the\u00a0Royal\u00a0Conservatory of Brussels) and at the\u00a0Zomer van Sint-Pieter\u00a0festival\u00a0(in the\u00a0Predikherenkerk\u00a0church of Leuven).\u00a0This music, from the period that is traditionally considered to have been Poland\u2019s \u201cGolden Age\u201d,\u00a0is symptomatic of a vogue for \u201cPolish songs\u201c and \u201cPolish dances\u201d which soon after was to spread across Europe, achieving what might have been the widest distribution of a fairly obvious, and yet hard to pinpoint musical \u201cPolishness\u201d before Chopin.Traditions of\u00a0keyboard and lute playing\u00a0have been interrelated since the fifteenth century, with players often capable of performing on either. Despite producing distinctive sounds, the harpsichord and the lute \u2013 both plucked stringed instruments \u2013 blend quite naturally. To explore their combined sound,\u00a0Corina MARTI\u00a0and\u00a0Micha\u0142 GONDKO\u00a0have derived their own \u201cduo\u201d versions from existing pieces of vocal and instrumental music. Intersperced between them are compositions intended for solo performance on each instrument.+++\u00a0download the presentation text by Micha\u0142 GONDKO\u00a0(in our digital library)+++\u00a0Practical information\u00a0PROGRAMME\\nAnon. \u2013\u00a0Rex\u00a0(from Jan z Lublina\u2019s\u00a0Livre d\u2019orgue)\\nMiko\u0142aj z Krakowa [Nicolaus Cracoviensis], fl.\u00a01st\u00a0half of the XVI\u00a0century? \u2013\u00a0Bona cor[ea?]\\nBenedictus de Drusina, fl.\u00a01556-1573 \u2013\u00a0Fantasia\\nMiko\u0142aj z Krakowa? \u2013\u00a0Ave ierarchia\\nAnon. \u2013\u00a0Polnischer Tantz\\nMiko\u0142aj Gom\u00f3\u0142ka, ca.\u00a01535-ca.\u00a01609 \u2013\u00a0Kleszczmy r\u0119koma\\nMiko\u0142aj z Krakowa? \u2013\u00a0Praeambulum in G per B\\nMiko\u0142aj z Krakowa \u2013\u00a0Zaklolam sz\u00ffa Tharnem\\nAlbertus Ambrosius D\u0142ugoraj, ca.\u00a01557-ca.\u00a01619 \/ Anon. \u2013\u00a0Chorea polonica \/ Cantio polonica\\nAnon. \u2013\u00a0Jeszcze Marczynye\u00a0(from Jan z Lublina\u2019s\u00a0Livre d\u2019orgue)\\nMiko\u0142aj z Krakowa? \u2013\u00a0Ha\u00ffduczk\u00ff\\nWac\u0142aw z Szamotu\u0142, ca.\u00a01524-ca.\u00a01560 \u2013\u00a0Kryste dnyu nassey swyatlosci\\nAnon. \u2013\u00a0Potorae Koniginn inn\u00a0Polen Tantz\u00a0(from the\u00a0Emanuel Wurstisen Lute Book)\\nAnon. \u2013\u00a0Fantasia primi toni\u00a0(from the\u00a0Gda\u0144sk Manuscript)\\nChristoph L\u00f6ffelholz? \u2013\u00a0Ein gutter polnischer Tantz\\nCorina MARTI\u00a0\u2013 Renaissance harpsichordMicha\u0142 GONDKO\u00a0\u2013 Renaissance lute\\nPRACTICAL INFORMATION\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Midis\/Minimes festival \u00a0 \u00a0 \u00a0 \u00a0 \u00a0&gt;&gt;&gt;\u00a0Royal Conservatory of Brussels\u00a0(Rue de la R\u00e9gence 30A, \u00a01000 Brussels) -\u00a0see map&gt;&gt;&gt; Tuesday\u00a011 July\u00a02017 -\u00a012:15&gt;&gt;&gt;\u00a0\u20ac5\u00a0|\u00a0free\u00a0(-13)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Zomer van Sint-Pieter\u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0&gt;&gt;&gt;\u00a030CC Cultural Center\/Predikherenkerk chuch\u00a0(Onze-Lieve-Vrouwstraat, 3000 Leuven) \u2013\u00a0see map&gt;&gt;&gt; Wednesday\u00a012 July\u00a02017 -\u00a012:15&gt;&gt;&gt;\u00a0\u20ac6\u00a0|\u00a0free\u00a0(-12)\\nCorina Marti\u2019s performances recorders and harpsichord have been praised as \\\"strikingly superior and expressive\\\" (Toccata) and \\\"infallible\\\" (Diapason). Native from Switzerland, she graduated from the Lucerne Academy of Music, and later from the \\\"Schola Cantorum Basiliensis\\\", where she now teaches early recorders and keyboard instruments. Her work has helped to bring about the present-day revival of these instruments.Micha\u0142 Gondko, in whose hands \\\"phrases come across like extempore thoughts chasing each other across the imagination, an effect many try for but very few succeed\\\" (Lute News, UK), studied classical guitar in his native Poland prior to focusing exclusively on historical plucked instruments of the lute family at the \\\"Schola Cantorum Basiliensis\\\", where he studied with Hopkinson Smith. He is one of the leading lutenists of his generation.Marti and Gondko are the driving force behind the ensemble\u00a0LA MORRA\u00ab which, since its inception in 2000, has gained wide recognition for interpretations of late Medieval and early Renaissance repertoires that \\\"never fail to keep the listener\u2019s attention alive\\\" (Gramophone). They have jointly led \\\"La Morra\\\" in numerous live appearances and recordings, inspiring enthusiastic response worldwide and earning such marks of musical distinction as the \\\"Diapason d'Or\\\", the \\\"Jahrespreis der deutschen Schallplattenkritik\\\", the American Musicological Society's \\\"Noah Greenberg Award\\\" as well as \\\"Gramophone\\\" and \\\"International Classical Music Award\\\" nominations. In addition, Gondko is recipient of \\\"Fryderyk\\\", a prize awarded by the Association of Polish Audio-Video Producers.Besides CDs with La Morra, their discography features an acclaimed CD of early German music for keyboard and plucked stringed instruments (Von edler Art). Both Marti and Gondko appear regularly as recitalists on their respective instruments. Marti devoted her debut solo album (I dilettosi fiori) to the instrumental music of the fourteenth century and has recently been focusing on the sixteenth-century Italian and Polish keyboard repertoire. Polish contribution to the renaissance lute repertoire is the topic of Gondko\u2019s debut solo album (Polonica). He has recently been exploring early seventeenth-century solo lute music from sources produced in the Baltic Sea area. Marti\u2019s discography of Baroque music includes recorder concertos by Francesco Mancini and Alessandro Scarlatti, as well as chamber music by Charles Dieupart and Johann Sebastian Bach.While primarily busy with their own early music projects, they still find time for musical collaborations and have shared the stage with such musicians as Dame Emma Kirkby and Jordi Savall, among others.Concert tours have led them to the majority of European countries, as well as to the USA, Brasil, China, Japan and the countries of the Middle East.\\nLinks\\n\u00a0Midis-Minimes:\u00a0http:\/\/www.midis-minimes.be\/fr\/\\n\u00a0Zomer van Sint-Pieter:\u00a0https:\/\/www.30cc.be\/nl\/zomer\"},{\"@type\":\"ImageObject\",\"inLanguage\":\"pl-PL\",\"@id\":\"https:\/\/instytutpolski.pl\/brussels\/en\/2017\/07\/11\/fantasiae-cantiones-choreae-music-of-the-sixteenth-century-poland\/#primaryimage\",\"url\":\"https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2020\/05\/99990fr-3-3.jpg\",\"contentUrl\":\"https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2020\/05\/99990fr-3-3.jpg\",\"width\":572,\"height\":354,\"caption\":\"Micha\u0142 Gondko &amp; Corina Marti (c) Arch. 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choreae - Music of the sixteenth century Poland","isPartOf":{"@id":"https:\/\/instytutpolski.pl\/brussels\/#website"},"primaryImageOfPage":{"@id":"https:\/\/instytutpolski.pl\/brussels\/en\/2017\/07\/11\/fantasiae-cantiones-choreae-music-of-the-sixteenth-century-poland\/#primaryimage"},"image":["https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2020\/05\/99990fr-3-3.jpg","https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2020\/05\/99990fr-3-3-300x186.jpg","https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2020\/05\/99990fr-3-3.jpg","https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2020\/05\/99990fr-3-3.jpg"],"thumbnailUrl":"https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2020\/05\/99990fr-3-3.jpg","datePublished":"2017-07-11T11:48:22+02:00","dateModified":"2020-05-07T11:50:52+02:00","author":{"@id":"https:\/\/instytutpolski.pl\/brussels\/#\/schema\/person\/ccb27e6f37dc023e9a8d394b9bc37c18"},"breadcrumb":{"@id":"https:\/\/instytutpolski.pl\/brussels\/en\/2017\/07\/11\/fantasiae-cantiones-choreae-music-of-the-sixteenth-century-poland\/#breadcrumb"},"inLanguage":"pl-PL","potentialAction":[{"@type":"ReadAction","target":["https:\/\/instytutpolski.pl\/brussels\/en\/2017\/07\/11\/fantasiae-cantiones-choreae-music-of-the-sixteenth-century-poland\/"]}],"@context":"https:\/\/schema.org","startDate":"2017-07-11","endDate":"2017-07-12","eventStatus":"EventScheduled","eventAttendanceMode":"OfflineEventAttendanceMode","location":{"@type":"place","name":"","address":"","geo":{"@type":"GeoCoordinates","latitude":"","longitude":""}},"description":"The\u00a0sixteenth century's music with Polish connotations\u00a0will be present at the 31 edition of the Brussels festival\u00a0Midis Minimes\u00a0(at the\u00a0Royal\u00a0Conservatory of Brussels) and at the\u00a0Zomer van Sint-Pieter\u00a0festival\u00a0(in the\u00a0Predikherenkerk\u00a0church of Leuven).\u00a0This music, from the period that is traditionally considered to have been Poland\u2019s \u201cGolden Age\u201d,\u00a0is symptomatic of a vogue for \u201cPolish songs\u201c and \u201cPolish dances\u201d which soon after was to spread across Europe, achieving what might have been the widest distribution of a fairly obvious, and yet hard to pinpoint musical \u201cPolishness\u201d before Chopin.Traditions of\u00a0keyboard and lute playing\u00a0have been interrelated since the fifteenth century, with players often capable of performing on either. Despite producing distinctive sounds, the harpsichord and the lute \u2013 both plucked stringed instruments \u2013 blend quite naturally. To explore their combined sound,\u00a0Corina MARTI\u00a0and\u00a0Micha\u0142 GONDKO\u00a0have derived their own \u201cduo\u201d versions from existing pieces of vocal and instrumental music. Intersperced between them are compositions intended for solo performance on each instrument.+++\u00a0download the presentation text by Micha\u0142 GONDKO\u00a0(in our digital library)+++\u00a0Practical information\u00a0PROGRAMME\nAnon. \u2013\u00a0Rex\u00a0(from Jan z Lublina\u2019s\u00a0Livre d\u2019orgue)\nMiko\u0142aj z Krakowa [Nicolaus Cracoviensis], fl.\u00a01st\u00a0half of the XVI\u00a0century? \u2013\u00a0Bona cor[ea?]\nBenedictus de Drusina, fl.\u00a01556-1573 \u2013\u00a0Fantasia\nMiko\u0142aj z Krakowa? \u2013\u00a0Ave ierarchia\nAnon. \u2013\u00a0Polnischer Tantz\nMiko\u0142aj Gom\u00f3\u0142ka, ca.\u00a01535-ca.\u00a01609 \u2013\u00a0Kleszczmy r\u0119koma\nMiko\u0142aj z Krakowa? \u2013\u00a0Praeambulum in G per B\nMiko\u0142aj z Krakowa \u2013\u00a0Zaklolam sz\u00ffa Tharnem\nAlbertus Ambrosius D\u0142ugoraj, ca.\u00a01557-ca.\u00a01619 \/ Anon. \u2013\u00a0Chorea polonica \/ Cantio polonica\nAnon. \u2013\u00a0Jeszcze Marczynye\u00a0(from Jan z Lublina\u2019s\u00a0Livre d\u2019orgue)\nMiko\u0142aj z Krakowa? \u2013\u00a0Ha\u00ffduczk\u00ff\nWac\u0142aw z Szamotu\u0142, ca.\u00a01524-ca.\u00a01560 \u2013\u00a0Kryste dnyu nassey swyatlosci\nAnon. \u2013\u00a0Potorae Koniginn inn\u00a0Polen Tantz\u00a0(from the\u00a0Emanuel Wurstisen Lute Book)\nAnon. \u2013\u00a0Fantasia primi toni\u00a0(from the\u00a0Gda\u0144sk Manuscript)\nChristoph L\u00f6ffelholz? \u2013\u00a0Ein gutter polnischer Tantz\nCorina MARTI\u00a0\u2013 Renaissance harpsichordMicha\u0142 GONDKO\u00a0\u2013 Renaissance lute\nPRACTICAL INFORMATION\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Midis\/Minimes festival \u00a0 \u00a0 \u00a0 \u00a0 \u00a0&gt;&gt;&gt;\u00a0Royal Conservatory of Brussels\u00a0(Rue de la R\u00e9gence 30A, \u00a01000 Brussels) -\u00a0see map&gt;&gt;&gt; Tuesday\u00a011 July\u00a02017 -\u00a012:15&gt;&gt;&gt;\u00a0\u20ac5\u00a0|\u00a0free\u00a0(-13)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Zomer van Sint-Pieter\u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0&gt;&gt;&gt;\u00a030CC Cultural Center\/Predikherenkerk chuch\u00a0(Onze-Lieve-Vrouwstraat, 3000 Leuven) \u2013\u00a0see map&gt;&gt;&gt; Wednesday\u00a012 July\u00a02017 -\u00a012:15&gt;&gt;&gt;\u00a0\u20ac6\u00a0|\u00a0free\u00a0(-12)\nCorina Marti\u2019s performances recorders and harpsichord have been praised as \"strikingly superior and expressive\" (Toccata) and \"infallible\" (Diapason). Native from Switzerland, she graduated from the Lucerne Academy of Music, and later from the \"Schola Cantorum Basiliensis\", where she now teaches early recorders and keyboard instruments. Her work has helped to bring about the present-day revival of these instruments.Micha\u0142 Gondko, in whose hands \"phrases come across like extempore thoughts chasing each other across the imagination, an effect many try for but very few succeed\" (Lute News, UK), studied classical guitar in his native Poland prior to focusing exclusively on historical plucked instruments of the lute family at the \"Schola Cantorum Basiliensis\", where he studied with Hopkinson Smith. He is one of the leading lutenists of his generation.Marti and Gondko are the driving force behind the ensemble\u00a0LA MORRA\u00ab which, since its inception in 2000, has gained wide recognition for interpretations of late Medieval and early Renaissance repertoires that \"never fail to keep the listener\u2019s attention alive\" (Gramophone). They have jointly led \"La Morra\" in numerous live appearances and recordings, inspiring enthusiastic response worldwide and earning such marks of musical distinction as the \"Diapason d'Or\", the \"Jahrespreis der deutschen Schallplattenkritik\", the American Musicological Society's \"Noah Greenberg Award\" as well as \"Gramophone\" and \"International Classical Music Award\" nominations. In addition, Gondko is recipient of \"Fryderyk\", a prize awarded by the Association of Polish Audio-Video Producers.Besides CDs with La Morra, their discography features an acclaimed CD of early German music for keyboard and plucked stringed instruments (Von edler Art). Both Marti and Gondko appear regularly as recitalists on their respective instruments. Marti devoted her debut solo album (I dilettosi fiori) to the instrumental music of the fourteenth century and has recently been focusing on the sixteenth-century Italian and Polish keyboard repertoire. Polish contribution to the renaissance lute repertoire is the topic of Gondko\u2019s debut solo album (Polonica). He has recently been exploring early seventeenth-century solo lute music from sources produced in the Baltic Sea area. Marti\u2019s discography of Baroque music includes recorder concertos by Francesco Mancini and Alessandro Scarlatti, as well as chamber music by Charles Dieupart and Johann Sebastian Bach.While primarily busy with their own early music projects, they still find time for musical collaborations and have shared the stage with such musicians as Dame Emma Kirkby and Jordi Savall, among others.Concert tours have led them to the majority of European countries, as well as to the USA, Brasil, China, Japan and the countries of the Middle East.\nLinks\n\u00a0Midis-Minimes:\u00a0http:\/\/www.midis-minimes.be\/fr\/\n\u00a0Zomer van Sint-Pieter:\u00a0https:\/\/www.30cc.be\/nl\/zomer"},{"@type":"ImageObject","inLanguage":"pl-PL","@id":"https:\/\/instytutpolski.pl\/brussels\/en\/2017\/07\/11\/fantasiae-cantiones-choreae-music-of-the-sixteenth-century-poland\/#primaryimage","url":"https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2020\/05\/99990fr-3-3.jpg","contentUrl":"https:\/\/instytutpolski.pl\/brussels\/wp-content\/uploads\/sites\/4\/2020\/05\/99990fr-3-3.jpg","width":572,"height":354,"caption":"Micha\u0142 Gondko &amp; Corina Marti (c) Arch. La Morra"},{"@type":"BreadcrumbList","@id":"https:\/\/instytutpolski.pl\/brussels\/en\/2017\/07\/11\/fantasiae-cantiones-choreae-music-of-the-sixteenth-century-poland\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/instytutpolski.pl\/brussels\/"},{"@type":"ListItem","position":2,"name":"Fantasiae, cantiones &amp; choreae &#8211; Music of the sixteenth century Poland"}]},{"@type":"WebSite","@id":"https:\/\/instytutpolski.pl\/brussels\/#website","url":"https:\/\/instytutpolski.pl\/brussels\/","name":"Instytut Polski w Brukseli","description":"Instytuty Polskie","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/instytutpolski.pl\/brussels\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"pl-PL"},{"@type":"Person","@id":"https:\/\/instytutpolski.pl\/brussels\/#\/schema\/person\/ccb27e6f37dc023e9a8d394b9bc37c18","name":"dyjakn","image":{"@type":"ImageObject","inLanguage":"pl-PL","@id":"https:\/\/instytutpolski.pl\/brussels\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/8275a451988be0ae9a525d2a55b644f7?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/8275a451988be0ae9a525d2a55b644f7?s=96&d=mm&r=g","caption":"dyjakn"},"url":"https:\/\/instytutpolski.pl\/brussels\/author\/dyjakn\/"}]}},"_links":{"self":[{"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/posts\/3079","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/users\/127"}],"replies":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/comments?post=3079"}],"version-history":[{"count":1,"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/posts\/3079\/revisions"}],"predecessor-version":[{"id":3080,"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/posts\/3079\/revisions\/3080"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/media\/3077"}],"wp:attachment":[{"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/media?parent=3079"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/categories?post=3079"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/instytutpolski.pl\/brussels\/wp-json\/wp\/v2\/tags?post=3079"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}