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he desire for joy is deeply engraved in our heart. There might be a memory of absolute happiness that needs no negative experience to sense whatever is good. Music is supposed to bring delight since it nurtures life, it gives us a sense of purpose and unfolds new horizons. In Transylvania, the world of simple, joyous and direct melodies – that of Italian music – enjoyed great popularity even in old times. May the magic of this life affirming music fill us. Dr. Ignác Csaba Filip,

Artistic Director of the Festival

This brochure containing the programme of the Miercurea Ciuc Early Music Festival is available in Hungarian, Romanian and English. Published by: Hargita County Council and Cultural Center of Hargita County 4 Blvd Timişoarei Miercurea Ciuc 530102 Tel.: +40 266 372044, Fax: +40 266 315891, Publishing coordinator: Angéla Ferencz Artistic Director of the Festival: dr. Ignác Csaba Filip Programme coordinator: Gabriella Fazakas Brochure edited by: Gabriella Fazakas, Réka Mihály Translated by: Réka Gyergyay, Radu Rădescu Contribution: István Csörsz Rumen Branding, graphic design, prepress: Gyula Ádám, László Botár For the graphic conception of the festival the illustrations of András Mérey have been used. Printing: S.C. MAGIC PRINT S.R.L

Contents 1 Ignác Filip: La bella musica italiana 4 Festival Programme • Performing artists and ensembles • 6 Santenay 9 La Fonte Musica 13 András Ványolós and István Kónya 16 Artemandoline 19 Baroque Festival Orchestra 23 Zoltán Széplaki, Réka Palócz, István Csörsz Rumen and Attila Kovács 25 Lyceum Consort 27 Carmina Renascentia 29 Flauto Dolce 32 Musica Historica • Dramsam 36 Mónika Tóth and Giangiacomo Pinardi 39 Baroque Ensemble “Transylvania” 45 Kájoni Consort 46 Codex 47 Lacertae 50 Balkan Baroque Band 52 Programme of the 8th Early Music Summer School 53 Teachers of the the8th Early Music Summer School



Tuesday 7 July Ist ván Nagy High School of Fine Arts and Music (18 Libertăţii Square Miercurea Ciuc) 16:00 Presentation of Ist ván Kónya’s book series: Lute book – The Wanderings of the Lute in Europe; Renaissance Lute Methodology; Renaissance Lute Antology Wednesday 8 July Hargita County Council and Cultural Conference Hall (4 Blvd Timişoarei Miercurea Ciuc) 17:00 The first edition of the Miercurea Ciuc Early Music Festival took place 35 years ago – round table Moderator: Károly Boér

(In case of bad weather: the Assembly Room of the Municipal Theatre Trade Union Arts Center 18:30 SANTENAY (DE): Pres du soloil 19:30 LA FONTE MUSICA (IT): Enigma Fortuna 22:00 ISTVÁN KÓNYA (HU), ANDRÁS VÁNYOLÓS (RO): With Song and Lute Friday 10 July Mikó Cast le (2 Cetăţii Square Miercurea Ciuc) 11:00–13:00 Closing Concert of the Early Music Summer School I.

Ist ván Nagy High School of Fine Arts and Music (18 Libertăţii Square Miercurea Ciuc) Petőfi Café (2 Majláth G. Károly Square 15:00–17:00 Closing Concert of the Early Music Summer School II. Miercurea Ciuc) 20:30 Jam Session – concert of the st udents Reformed Church (11 Márton Áron Street and teachers of the 8th Early Music Summer Miercurea Ciuc) School 18:00 ARTEM ANDOLINE (LU): Il Thursday 9 July Majláth Gusztáv Károly Square 13:00–13:30 STREET MUSIC: the st udents of the 8th Early Music Summer School

Mandolino Barocco Italiano

St August ine`s Church (45/B/3 Hunyadi János Street Miercurea Ciuc) 19:30 BAROQUE FESTIVAL Ist ván Nagy High School of Fine Arts and ORCHESTRA: Music (18 Libertăţii Square Miercurea Ciuc) Concerto di Concerti 16:00 Stylised Italian Dance Types in the Mikó Cast le, Northwest Bast ion Hall Baroque Instrumental Music (2 Libertăţii Square Miercurea Ciuc) lect ure by Zoltán Széplaki 22:00 ZOLTÁN SZÉPLAKI (HU), RÉKA PA LÓCZ (HU), ISTVÁ N CSÖRSZ Mikó Cast le RUMEN (HU), ATTILA KOVÁCS (HU): (2 Cetăţii Square Miercurea Ciuc)* 18:00 Opening Ceremony of the Fest ival Lacrime e gioia

LA BELLA MUSICA ITALIANA Saturday 11 July 11:00 Renaissance Children’s Day with the collaboration of Pörgett yű Association and Talentum Association, Arany Griff Rend Association Playhouse, medieval weapon presentation King Matthias Goes Stealing – puppet show of the S’artR Artistic Community and “Bábjátszótér” from Cluj Napoca 13:00–13:30 STREET MUSIC: Carmina Renascentia (RO) Mikó Cast le, Northwest Bast ion Hall (2 Libertăţii Square Miercurea Ciuc)* 17:00 LYCEUM CONSORT (RO): Io son un pellegrin Courtyard Of Mikó Cast le (2 Libertăţii Square Miercurea Ciuc) 17:30 CARMINA RENASCENTIA (RO): ‘O villanella bella’ 18:10 FLAUTO DOLCE (RO): Viver lieto voglio 20:00 MUSICA HISTOR ICA (HU), DRA MSAM (IT): Ad choreas ducendi Mikó Cast le, Northwest Bast ion Hall (2 Libertăţii Square, Miercurea Ciuc) 2 2:0 0 MÓN I K A TÓ T H (H U), GIANGIACOMO PINARDI (IT): Fiori musicali

Sunday 12 July BANCU, St. John the Baptist Chapel (1 Bancu) 12:00 TR ANSYLVANIA BAROQUE ENSEMBLE (RO): Italian Early Baroque in Transylvania

LĂZAREA, community centre

(695 Principală Street Lăzarea) 12:00 KÁJONI CONSORT (RO): Choreae & Carmina 12:30 CODEX ENSEMBLE (RO): Human Life Is A Struggle

Courtyard of the Franciscan Church of Şumuleu Ciuc (148 Szék Street Miercurea Ciuc) 11,30– 12,00 STREET MUSIC – LYCEUM CONSORT (RO) Courtyard Of Mikó Cast le (2 Cetăţii Square Miercurea Ciuc) 18:00 LACERTAE (FR): From Prima pratica to Seconda pratica 19:00 BALK AN BAROQUE BAND: Vivaldissimo 20:00 Renaissance Dance Hall

BUCHAREST, Saint Joseph Cathedral (17 G-ral H. M. Berhelot Street Bucharest) 20:00 BAROQUE FESTIVAL ORCHESTRA: Concerto di Concerti



Pres du soloil

Mikó Cast le, Thursday 9 July, 18:30

| photo • Hagen Schnauss

Borlet: He, tres doulz roussignol joly1 Anonymus : Onques ne fu si dur partie2 Johannes: Vaillant Par maintes foys1 Jacopo da Bologna: Oselletto selvaggio per stagione3 Don Paolo da Firenze: Un pellegrin uccel gentil e bello4 Donatus da Florentia: I fu ggia bianc uccel con piuma d’oro3 Anonymus: En un gardin noble et de tres hault pris5 Anonymus: Or sus vous dormes trop6 Jacob Senleches: En ce gracieux tamps joli7 Pres du soloil deduissant s’esbanoye - diminution after Matteo da Perugia Anonymus: Or sus vous dormes trop2 Sources: 1. Chantilly, Bibliothèque du Musée Condé 564 2. Paris, Bibliothèque Nationale, fonds nouv. acq. français 6771 (Reina Codex) 3. Florence, Biblioteca Medicea-Laurenziana, Palatino 87 (Squarcialupi Codex) 4. Paris, Bibliothèque Nationale, fonds italien 568 5. Utrecht, Universiteitsbibliotheek 1846 (shelfmark 6 E 37) 6. Faenza, Biblioteca Comunale 117 (Faenza Codex) 7. Modena, Biblioteca Estense e Universitaria 524 SANTENAY Julla von Landsberg – voice, organetto Elodie Wiemer – recorders Orí Harmelin – lute Szilárd Chereji – viella


After the long, cold winter, the yearned-for spring arrives in the merry month of May. Sounds of chirping, from the lark to the nightingale, can be heard day and night. Birdsong has always inspired people with awe and wonder. Indeed, songbirds enliven myths, fables, songs and poems. In music, not only does one fi nd the easily mimicked cuckoo song, but also its counterpart, the nightingale, has been represented in tone painting. Birds had great symbolic value in Medieval times: while the eagle or the falcon, as hunting birds, were a sign of power or sublimity, the cuckoo, calling out the French word “cocu”, can represent deception or betrayal. The nightingale can stand for love, and the lark as the messenger of spring. All of these birds are chief players in virelais, madrigals and ballades, for example, in the well-known Lais, “Laüst ic”, by Marie de France. Italian and French songs of Senleches, Pauolo da Firenze, Borlet, among others, presented in this programme by Santenay, were inspired by this story. Laüstic In Marie de France’s Lai, from the area of Saint-Malo in Brittany, a married woman falls in love with her neighbour. The pair can only see each other at their windows, where they talk to each other and toss gifts to each other. The secret relationship lasts for merely one summer, when the two lovers meet at the window during the nights to listen to bird songs. The woman’s husband becomes incensed because his wife is always gett ing up and sneaking away to the window. Whenever he addresses her about the issue he always hears the same excuse: it is because of the nightingale, whose song she takes pleasure in and which she longs for, so much that she cannot sleep. As a result, the husband has the bird caught and st rangles it in the presence of his wife. The death of the nightingale means the end of the love relationship with the neighbour, as the woman does not have an excuse to go to the window at night. The woman wishes to let the neighbour know the reason for her absence at the window, and so writes her story in gold on a velvet cloth, with which she wraps the body of the bird and sends with a messenger to deliver to her lover. The neighbour has a litt le box forged from pure gold and decorated with precious stones, and he lays the nightingale inside. From then on, the noble man never separates from this litt le box.



fascination with the music of the Middle Ages led to the creation of Ensemble Santenay in 2004. Initial independent exploration of the repertoire led to several years of collaboration with medievalist pioneer Kees Boeke as a part of a st udy at the Academy of Music in Trossingen, Germany. In 2008 the ensemble releases its debut CD Santenay- LIVE. Numerous performances led these four friends from Israel, France, Germany and Transylvania throughout Europe. The origin of the Ensemble’s name is a town in the former duchy of Burgundy. Santenay sets Medieval and Early Renaissance music on inst ruments typical for the period, that is, recorder, vielle, lute and organetto. In the original manuscripts there are no indications for inst rumentation; therefore it is open to the musicians to decide on the most suitable inst rument for each part. In addition to countless monodies, many three-part (and some two- and four-part) works were composed by fourteenth and fi fteenth century court musicians. The core of each piece is the tenor line (from the Latin “tenere” meaning “to hold”). Santenay usually sets the tenor voice with the vielle, which, as a st ring inst rument, is best suited for the long notes of the textless melody. In perfect counterpoint to the tenor is the cantus line (from the Latin “cantare” meaning “to sing”). When a text is present, Santenay sets this line with voice and an additional inst rument such as the recorder or the organetto, which supports the singer and can take over the cantus in inst rumental interludes. The contrast ing voice to the tenor is the countertenor, which offers divergent rhythms and harmonic elements of an improvisatory character. Santenay generally sets this part with the lute.



Enigma Fortuna Mikó Cast le, Thursday 9 July, 19:30

| photo • Alberto Molina

Music of the “Chantor” Antonio Zachara da Teramo Antonio Zachara da Teramo Chantor (?1360–1413): Je sui Navvré tan fort/Gnaff ’a le guagnele Antonio Zachara da Teramo Chantor: Movit’a Pietade Antonio Zachara da Teramo Chantor, Anonymous (Codex Faenza 117): Un Fior Gentil m’apparse Anonymous (Codex London add.29987): Tre Fontane (inst rumental) Antonio Zachara da Teramo Chantor: Plorans ploravi Antonio Zachara da Teramo Chantor: Deduto sey a quel che mai non fusti Anonymous (Codex Faenza 117): Deduto sey (inst rumental) Antonio Zachara da Teramo Chantor: Cacciando per gustar, Ai Cenci, ai toppi Antonio Zachara da Teramo Chantor: Ad ogne vento come foglia Antonio Zachara da Teramo Chantor: Rosetta che non cançi mai colore Anonymous (Codex Faenza 117): [Rosetta che non cançi mai colore] (instrumental) Antonio Zachara da Teramo Chantor: Sumite Karissimi Antonio Zachara da Teramo Chantor: Deus Deorum Pluto Antonio Zachara da Teramo Chantor: Ciaramella, me dolçe Ciaramella


LA FONTE MUSICA Francesca Cassinari – soprano Alena Dantcheva – soprano Gianluca Ferrarini – tenor Efi x Puleo – fiddle Teodoro Baù – fiddle Federica Bianchi – harpsichord, organ Michele Pasott i – lute, musical direction

Antonio Zachara da Teramo (?1360– after 1413), along with Johannes Ciconia and Matteo da Perugia, is one of the most prominent musicians of the late Italian Ars Nova. His music displays a wide variety of st yles and registers. We know now that he surely was one of the most prolific, resourceful and widely copied composers of the time. Music was not the only art in which he excelled, though; in 1390 he was described as ‘optimo perito et famoso cantore, scriptore et miniatore’ (amazingly skilled and famous singer, writer and illuminator). Still in the 18th century he was known as an „exceptionally successful composer and elegant scribe who was small in stature (apparently the reason for the sobriquet Zacara), with only ten digits on his hands and feet combined” – details confirmed by the portrait of him in the Squarcialupi Codex which appears here on the programme. As a singer, he was employed in the papal chapel, and st ill in 1463, far after his death, „his compositions were considered oracles”. Enigma Fortuna focuses on his songs and points out two main features of his st yle: Fortune and Riddles. His entire secular product ion has been described as „Variations on the theme of Fortune”, since in most of his songs he speaks about Fortune. The way he refers to it varies from a direct and violent accusation in Dime, Fortuna (Tell me, Fortune) with references to historical events crossed with his biography, to his tears caused by adverse Fortune (the touching and beautiful elegy on the death of his son Plorans ploravi and Nuda non era) to a self-ironic fake dialogue


full of satyrical elements (Deduto sey) along with more conventional references to the wheel of Fortune (Ad ogni vento). Antonio was without any doubt an „eccentric personality who enjoyed criptic games with words and numbers”. But his oddity also goes with a taste for the game, a certain gaiety which gives a peculiar and easily noticeable taste to his riddles. Th is is evident in Ciaramella, me dolçe Ciaramella and in Je sui Navvré tan fort/Gnaff ’a le guagnele where he uses anagrams and signs his name (Saccra) as he does also in Deus deorum or in Sumite Karissimi. Th is last composition is a summary of Zacara’s experimentalism: the text is basically consituted by the inst ruct ion to solve the riddle. The solution is Recomendatio, a homage that Zacara probably offers to the papal chapel; the music is as demanding, experimental, bold - subtilis as they would have said - as it can be; it is probably the most difficult piece of music of the entire Ars Nova, with rhythms that reappear only with the 20th-century avant-gardes. Zacara’s oddity and audacity was to remain without heirs as the late Ars Nova st yle in general, but his steady use of imitation and canonic techniques, his st rong sense of form, the omorhytmic sect ions and a „popular” taste in language, subjects and rhythms – let alone the huge contribution he made to building the mass movements polyphony preceding Ciconia, Bartholomeo da Bologna and Dufay - surely make him the composer who could best anticipate the new st yles and tendencies of the 15th century and thus fi nd good fortune at the dawn of the Renaissance. La Fonte Musica is an ensemble specialised in late medieval music on period instruments, founded and led by Michele Pasotti in 2005. The group was founded to interprete the music of the astonishing period between the end of the Middle Ages and the beginning of humanism (ca. 1320-1440), with a particular focus on the Italian Trecento. At the centre of La Fonte Musica’s interpretative idea stands the humanist ic imperative „tornare alle fonti” (hence its name ”source of music”), to the roots of medieval polyphony, to the deep meaning of the lyrics and of writing choices, to a careful deciphration of the rhethorics and of the musical grammar in order to understand, render and translate for us, today, an extraordinarily creative, experimental and refi ned music, st ill almost unexplored. La Fonte Musica’s live performances are characterized by a vocal and inst rumental virtuosity, essential to correspond to the complexity, care for details and audacious experimentation typical of the Ars Nova and Ars Subtilior, and an idea of the concert as a global performance where listening, vision and gest ure interact. The ensemble has been invited, among others, to fest ivals like Resonanzen (Konzerthaus, Wien), Konzertsaal der Wiener Sängerknaben (Vienna), Les Inouies in Arras (France), Musica Sacra Piber (Aust ria), Cantar


di Pietre (Switzerland), Venetian Center for Baroque Music (Venice), Vespri in San Maurizio (Milan), I Concerti dell’Accademia Bizantina, La Via Lattea, Gaudete! Fest ival, Le Vie del Barocco, Musica nei Chiost ri, Musica Ricercata, Ghislierimusica, Emozioni in musica, Musica in Università and Sant’Agostino tra musica e filosofia (Italy). The most important music magazine in Italy, AMADEUS, has voted their Le Ray au Sley CD OF THE MONTH in April 2012, rating it with the maximum vote (5 stars + A). The French website “APPOGGIATURE” gave the same CD the Appoggiature d’or, their maximum award in July 2012. La Fonte Musica recorded its second CD Metamorfosi ’300. Trasformazioni del mito nell’Ars Nova at the end of 2013 to be released in 2015. Michele Pasotti graduated in lute with highest honours, st udying with Massimo Lonardi, and specialised attending masterclasses by Hopkinson Smith and Paul O’Dette. At the Accademia Internazionale della Musica (now Civica Scuola di Musica) in Milan he later specialised in Italian Baroque Chamber Music with Laura Alvini, in Renaissance Theory of Music and Counterpoint with Diego Fratelli and deepened the st udy of late medieval pract ice under the guidance of Kees Boeke and then of Pedro Memelsdorff at the Escola Superior de Musica de Catalunya in Barcelona. At Rome’s University “Tor Vergata” he attended the specialisation course Ars Nova in Europa, gett ing a fi rst class degree. He also received a fi rst class degree in Theoretical Philosophy at the university of Pavia. Michele Pasott i has an intense act ivity giving masterclasses in conservatories, schools, fest ivals. He also gives lect ures, either on musicological subjects, or to introduce and spread the knowledge of lutes and early music. In 2013 he held a course on ”Matteo da Perugia. Primo maest ro di cappella del Duomo di Milano at the Civica Scuola di Musica di Milano”. In 2012 and in 2013 he was professor of Theorbo and Lutes at the Rovigo Musica Antica summer courses and of lute and ancient music ensembles at the Centro Studi Europeo di Musica Medievale “Adolfo Broegg”.



With Song and Lute (Énekkel és lanttal) Mikó Cast le, Northwest Bast ion Hall, Thursday 9 July, 22:00

| photo • Gyula Ádám

Anon: Magyarhazánk, Te jó Anya Anon: Szent Ist ván song Jacques Barbireau (1420?–1491): Ein fröhlich Wesen Francesco Spinacino: Recercar (1507) Bartolomeo Tromboncino (1470?–1535): Virgine bella Machetto Cara (1470?–1525): Non è tempo d’aspettare Arnolt Schlick (1460?–1521): Vil hinderlist Hans Newsidler (1504?–1563): Nach Willen Dein – Königen Tanz Joan Ambrosio Dalza: Tastar de corde (1508) Philippe Verdelot, Adrian Willaert (1490?–1562): Madonna, qual certezza (1536) Francesco da Milano (1497–1543): Ricercare Adrian Willaert: Vita della mia vita (1636) M. Fabrizio Caroso (1530–1605): Passamezzo Ungaro (Bassa Honorata) John Dowland (1563–1626): Come again – Fantasia – In this Trembling Shadow Cast Balassi Bálint (1554–1594): Idővel paloták, házak, erős várak Tinódi Sebest yén (1515?–1556): Sokféle részegösről Bakfark Bálint (1526?–1576): Fantasia IX Térj meg már bújdosásimból: Codex Vietoris – Songbook from Vásárhely, cca. 1670 Ungarescha (Giorgio Mainerio: Il primo libro de balli, 1578)


“... a song accompanied by lute (I think) is more joyful than anything else as it gives the word so much charm and power that it is a miracle in itself.” Baldassare Cast iglione: The Book of the Courtier (1528) Ist ván Kónya – lute András Ványolós – voice The performers invite the public With song and lute to a musical journey through European Renaissance towns, to the royal and princely courts and cast les, mansions and fortresses in the Carpathian Basin. Besides pieces of composers such as Barbireau, Tromboncino, Willaert, Schlick, Dowland, Narvaez, Balassi and Tinódi, their programme includes contemporary Hungarian historical music and love-lays, folk songs, sacred songs and lute music. The programme of the concert is built on the fi rst Hungarian Lute book and Renaissance Lute Methodology (2014). In the Renaissance period, the lute was the most popular inst rument, second only to the human voice. It was called “Regina Omnium Inst rumentorum musicorum”, the “Queen of inst ruments”. It was suitable not only for polyphonic parts, but also for songs and as an accompaniment for other inst ruments. The tradition of solo songs accompanied by lute dates back to the Middle Ages. Several years after the invention of sheet music printing (1509) appeared the fi rst lute- accompanied frottola repertory, which mainly included prints of 3-4 part vocal plays for solo songs and lute. By the mid 17th century, dozens of similar lute collect ions had come to light, fi rst in Italy then throughout the continent. The name of the genre differed from nation to nation: frottola, villanelle (Italy), Lauten-Lied (Germany); air de cour (France); romance,villancico (Spain); ayre (England). At fi rst these songs were transcripts of madrigals, chansons where the treble and counter were parts of the polyphonic, equal to other parts, played on the lute. Later in Baroque the voice completely detached from the accompaniment. The English ayres are the most sophist icated among all lute plays. In Central Europe the accompaniment of songs was never recorded, they performed it ad-lib, the performance varying by occasion. The most important aspect was to highlight the lyrics and to enforce the mood of the songs. The medieval Hungarian minst rels, bards and their descendants, the chroniclers who processed the historical events of their age in a poem form, protestant minst rels accompanied their songs on plucked string instruments, especially lute and cobza. After the European panorama, our present programme provides a varied compilation of Hungarian plays. Ist ván Kónya, born in Nagykanizsa, Hungary, obtained his fi rst diploma in history and music in 1985, while broadening his training with st udies in classical guitar under the guidance of Zoltán Tokos, at Liszt Academy, Debrecen. In 19891994 he joined the lute st udio of Toyohiko Satoh at the Royal Conservatory of The Hague. There he gained his lute diploma in 1994, being the fi rst Hungarian


lutist to achieve such a distinction. In addition to Renaissance and Baroque lutes, he plays the archlute and the chitarrone. Obtaining his degree in chamber music in 1996 at the Royal Conservatory of The Hague, he attended masterclasses with Nigel North and Steven Stubbs. He has performed in numerous European and American countries as a soloist and member of several ensembles. Since 1993 he has been a lute teacher at many early music courses in Hungary. In 1996-1998 he was a teacher and artist ic director of the “Early Music Summer Academy” in Szombathely; between 2006-2008, at the International Lute & Guitar Fest ival in Győr, Hungary; in 2005-2009 a lute teacher and artist ic director at Savaria Early Music Workshop. Since 2010 he has been a lute and guitar teacher of the Miercurea-Ciuc Early Music Summer Schools. Besides his recital engagements in Hungary, Mr. Kónya has participated in many prest igious fest ivals abroad with leading ensembles. He has collaborated with several Radio, TV and recording companies. He released two solo albums: “Lute Music of Th ree Centuries” and “S.L.Weiss: Lute Suites”. On his ”Budavári Lantestek” concert tours he has performed in more than 50 concerts in the Gothic Chamber of the Budapest History Museum. In 2014 he released his three Lute books (European Lute History, Renaissance Lute Methodology and Renaissance Lute Anthology). More information: András Ványolós was born on 13th April 1978 in Gheorgheni, Romania. He began his st udies at the local Ernő Salamon High School and went on st udying music pedagogy at Gheorghe Dima Music Academy in Cluj-Napoca. He became interested in sacred music and later became an active member of the Renaissance dance movement in Cluj-Napoca. During and even after his years at the university he st udied singing techniques from Júlia Kirkosa opera singer and due to this he experienced the depth, reality and funct ionality of secular music. He has attended several European masterclasses, gaining vocational reinforcement. He st udied Gregorian music in Pannonhalma, Eger and Cluj-Napoca; singing in Krieglach (Austria), Bucharest, Trongheim (Norway); Renaissance and Baroque dances in Bucharest, Cluj-Napoca, Miercurea-Ciuc and Tronheim. He was a member of the choirs of Schola Gregoriana Monostorinensis and the National Hungarian Opera. He was the leader of Kalvin Schola. Currently he is a music teacher in Miercurea Ciuc and the director of Lux Aurumque chamber choir, where they perform contemporary choruses. In 2013 the Romanian Song Union awarded him the János Jagamas chorus master award. Previously he attended the Miercurea Ciuc Early Music Fest ival with dancers from Cluj-Napoca and participated in Baroque and Renaissance projects with the dancer Mary Collins. In recent years he has performed as a singer with the Baroque Fest ival Ensemble and collaborated with the Hungarian Canticum Novum.


| photo • Artemandoline

ARTEMANDOLINE Il Mandolino Barocco Italiano Reformed Church, Friday 10 July, 18:00

Evaristo Delice dall’Abaco (1675–1742): Concerto a più Instrumenti op.V.6 Allegro–Aria cantabile, Ciacona allegro spiccato–Rondeau–Allegro Domenico Scarlatt i (1685–1757): Sonata K90 Grave–Allegro–Siciliana–Allegro Giuseppe Antonio Brescianello (1690–1758): Chaconne Giuseppe Zaneboni (1735–1790): Sinfonia per mandolino e basso Allegro–Andante–Menuet Antonio Vivaldi (1678–1741): Concerto in sol maggiore RV532 Allegro–Andante–Allegro Marco Uccellini (1603–1680): La Bergamasca ARTEMANDOLINE Juan Carlos Muñoz – Baroque mandolin Mari Fe Pavón – Baroque mandolin Manuel Muñoz – Baroque guitar Alla Tolkacheva – Baroque mandola and mandolin Jean-Daniel Haro – viola da gamba Jean-Christophe Leclère – harpsichord


Even to this day, the immense unexplored original repertoire for mandolin represents a period of transition of vital importance. It is a treasure trove which deserves to be rediscovered and enhanced. Th is programme proposes works by well known and lesser known composers in an attempt to illust rate the main st yles and the most significant expressive forms of the period. Th roughout this programme you will hear some aspects of the Italian st yle which left its mark on the composers of the time, and inundated the 18th century European courts. Th is music highlights the alternation between slow and fast movements whose character and tempi are pushed to the extreme, allowing for a great freedom of interpretation of the phrasing and ornamentation, all in the service of artist ic expression, the credo of this Italian st yle. Back to the sources: the rebirth of a forgotten repertory With their ensemble Artemandoline, formed in 2001, Juan Carlos Muñoz and Mari Fe Pavón chose to go back to the original documents in order to establish the true pedigree of this incomparable family of inst ruments. They have made a major contribution to launching a movement to encourage musical freshness and rigour. A better understanding of the compositions, a closer st udy of the early treatises and playing st yles, the musical environment of the glorious era of the mandolin, lead to a better appreciation of the Baroque music, which itself became a mode of thought and act ion over time. Searching for early mandolins, working on the manuscripts, hunting down early treatises, exploring the iconography - these are the means by which, for more than ten years now, the musicians of Artemandoline have sought to do fuller just ice to the works of Scarlatt i, Vivaldi, Weiss and their contemporaries. The success of this approach based on a return to the sources, which constitutes the most important development in the history of the interpretation of ‘serious’ music in the course of the twentieth century, has been made possible by the cooperation of many protagonists – musicians, but also concert organisers, recording producers, publishers, musicologist s and inst rument makers. To ensure that music composed in the past does not sound like mere ‘early music’ in the present, the performers must manage to be sufficiently free, spontaneous, anticipative and astonished in their intimate act of creation and the newness it engenders. Juan Carlos Muñoz and Mari Fe Pavón spend their lives searching out and reviving forgotten masterpieces of the mandolin repertory. They are not content with simply presenting their fi nds like ‘musical archaeologists’, but endeavour to transmit them to the wider public by means of the essential act of communication between interpreters, composers and listeners. Very quickly awarded prizes by the critics and enthusiast ically acclaimed by the public, Artemandoline’s performances always create new impulsions in the development of both the perception and the interpretation


of the works of the seventeenth and eighteenth centuries. Its musicians dedicate their time and their talents to the revival of the mandolin on the musical scene, participating in the current expansion of interest in it all over the world through their conservatory teaching and masterclasses, their concerts and their publications. Artemandoline is one of the pioneers in this domain, in which it has forged an international reputation. In a few short years, the ensemble has found its st yle, proved its inst rumental quality, and thereby const ituted a veritable identity. Soon after its formation, it took its place among the foremost ensembles in the realm of historical performance pract ice on plucked st rings. Audiences and critics alike were immediately fi lled with enthusiasm for its lively musical st yle. The musicians who make up the ensemble play on period inst ruments: Baroque mandolins, Renaissance and Baroque guitar, Baroque mandola and mandolin, Renaissance lute, treble lutes, mandolins from Brescia and Cremona. They are regularly invited to early music fest ivals in France and abroad, including Stockholm Early Music Fest ival , Bach Chamber Days in Riga, Tage Alter Musik Regensburg, Festival de Musique Ancienne du Marais, Monza e Brianza, Gaudete Early Fest ival,  Early Music Day Alden-Biesen, Musique en Catalogne romane, Castello Reale di Sarre, Fest ival « Musique d’Ensemble à Pommiers, Oissery, châteaud de Sedan, Narol et Wroclaw en Pologne, l’Epine...en Espagne, au Japon, au Luxembourg Baroque Days , Philharmonie du Luxembourg, Allemagne, Suisse, Italie, Algérie, fest ival du Périgord Vert, Palacio Foz à Lisbonne, Porto, Fest ival Midi-Minimes, Conservatoire royal de Bruxelles, château du Clos Lucé, Japan, etc.



| fotó • Ádám Gyula

Concerto di Concerti

St August ine’s Church, Friday 10 July, 19:30 Bucharest, Saint Joseph Cathedral, Saturday 11 July, 20:00

Antonio Vivaldi (1678–1741): Concert for oboe in d RV 454 Allegro–Largo–Allegro Pietro Locatelli (1695–1764) Concerto VIII in f a cinque Largo.Grave–Vivace–Grave–Largo Andante–Andante Antonio Vivaldi (1678–1741): Concert for recorder in c RV 441 Allegro con molto–Largo–Allegro Carl Philipp Emanuel Bach (1714–1788) Concert for violoncello in A Allegro–Largo con sordini, mesto–Allegro assai Johann David Heinichen (1683–1729) Concert for flute, oboe, violin, violoncello, theorbo, strings and Bc in D Allegro molto–Adagio–Allegro BAROQUE FESTIVAL ORCHESTRA Concertmaster and soloist: Ulrike Titze – Baroque violin (Dresden) Soloists: Ciprian Câmpean – Baroque cello (Cluj-Napoca) Caius Hera – theorbo (Timişoara) Dóra Király – recorder (Berlin)


Maria Petrescu – Baroque oboe (Bucureşti) Éva Szabó – Baroque flute (Miercurea Ciuc) Leading violin: Mia Sfura – Baroque violin (Cluj-Napoca), Mircea Ionescu – Baroque violin (Bucureşti), Péter Ernő – Baroque violin (Miercurea Ciuc), Éva Kovács – Baroque violin (Miercurea Ciuc) Second violin: László Kovács – Baroque violin (Miercurea Ciuc), Koppány Hunyadi – Baroque violin (Miercurea Ciuc), Viviana Ionescu – Baroque violin (Bucureşti), Adél Kertész – Baroque violin (Cluj-Napoca) viola: Csaba Adorján – Baroque viola (Miercurea Ciuc), Attila Suciu – Baroque viola (Oradea), Gabriella Tankó – Baroque viola (Miercurea Ciuc) violoncello: Zsombor Lázár – Baroque cello (Miercurea Ciuc), Annamária Gombócz – Baroque cello (Miercurea Ciuc) double bass: Árpád Szőgyör (Miercurea Ciuc) harpsichord: Paul Crist ian (Braşov) The flourishing trade of instrument building brought a huge breakthrough in the 18th century Italian music, bringing about the perfect ion of musical expression. Compositions were played in multiple harmonisations, concerts were played with one or more than ten concert inst ruments. On his Italian journeys, Johann David Heinichen was also inspired by these novelties. With Antonio Vivaldi, concertos fully exploit the contrast of light and shadow, the confl ict between feelings and states of mind. Pietro Locatelli’s concerti grossi were clearly inspired by Arcangelo Corelli as regards the principle of the genre – the alternation of tutti (or ripieno) and soli (concertino); Locatelli enlarges the concertino to two viola phrases resulting in a fuller counterpoint. Italian music reaches each and every European centre. Carl Philipp Emanuel Bach takes over the Baroque genre and fi lls it with an indomitable spirit that leads to the classical st yle. Ulrike Titze st udied the violin in her home town at the Dresden Music Institute. Th is was followed by four years of collaboration with the Staatskapelle in Weimar. Since 1986 she has been exclusively playing the Baroque violin. She is charter member and concertmaster of the Dresden Baroque Orchest ra. For several years she was teaching the Baroque violin at the Dresden Music Academy. Within the framework of the International Bach Academy she worked together with Romanian and Ukrainian Music Academy st udents several times. She is devoted to chamber music and responds to invitations of various orchest ras (Berlin Academy for Early Music, Stuttgart Baroque Orchest ra, etc). She held five courses of Baroque violin in Miercurea Ciuc and is also the artist ic director of the concert of the Baroque Fest ival Orchest ra.


Ciprian Câmpean was born in 1971. He st udied the cello at the Gheorghe Dima Music Academy in Cluj-Napoca (Romania) with Professor Vasile Jucan. He deepened his professional knowledge at the Sable Academy, on the courses held by Mira Glodeanu, Bruno Cocset, James Munro and Frederick Haas. In 2013 he obtained the Master’s Degree as a st udent in Bruno Cocset’s class at the Early Music of the High School of Music in Genoa. Passionate about Baroque music, he is member of the La Follia and the Transylvania Baroque Ensemble, with whom he made several radio and television recordings. Caius Hera graduated the Fine Arts School in Timișoara (Romania), where he was passionately interested in the arts of the Middle Ages, the Renaissance and the Baroque. Later he became st udent of the Faculty of Music in Timişoara (2000-2005), where he st udied music pedagogy and guitar. He started st udying the lute as an autodidact (2004), with the help of Endre Deák, and he performed together with the Collegium ensemble led by Endre Deák several times. After a few months’ st udy, he held his fi rst solo concert at the Constantin Silvestri Festival in Târgu Mureș, Romania. After this concert, he performed in several Romanian cities (Timișoara, Arad, Oradea, Deva, Sibiu, Bucharest, Târgu Neamț, Sighetu Marmației, Cluj-Napoca, Turnu Severin, Mediaș, Sighișoara, Sinaia, Bușteni, Sfântu Gheorghe, Brașov, Miercurea Ciuc). Between 2007 and 2008 he lived in Basel, where he st udied under the guidance of Hopkinson Smith at the Schola Cantorum Basiliensis. Since 2009 he has been collaborating with the Codex ensemble from Miercurea Ciuc and with the Musica Profana ensemble, with Judit Andrejszki and Márta Sebest yén. Since 2010 he has given several concerts in Hungary, Serbia, the Czech Republic and Belgium. At present he is teaching the guitar at the Filaret Barbu Music School in Lugoj (Romania), and has started his PhD st udies at the Gheorghe Dima Music Academy in Cluj-Napoca. Dóra Király is from Ost ff yasszonyfa, Hungary. She graduated the Art School in Szombathely and began her university st udies at University of Music in Vienna. In 2015 she obtained a degree in flute and Baroque bassoon at the Early Music Department of the University of Music in Leipzig. During her st udies she learnt from prestigious teachers and met remarkable musicians. Her professional carreer was especially influenced by Antal Att ila Békefi, Gábor Prehoffer, Anna Januj, Jostein Gundersen, Györgyi Farkas and Nicholas Parle. In 2006 and in 2008 she was awarded the 1st Prize at the National Art School Flute Competition. In 2009 her ensemble was awarded the 2nd Prize at the La Stravaganza International Chamber Music Competition in Cluj-Napoca; in 2011 they won the 1st Prize. She regularly gives concerts in Leipzig, Berlin and Magdeburg. She has also performed with the Bachs Erben youth Baroque ensemble several times; in


2013, within the framework of the Bach in Bogotá tour she gave a concert in Columbia. Besides her concerts in Germany, she regularly performs in Hungary, both on flute and Baroque bassoon, with ensembles such as the Orfeo orchest ra (Palace of Arts, Academy of Music, Budapest Music Center), Capella Savaria (Szombathely) and with her own ensemble, founded in Leipzig, the Musiqueà-lunettes. She regularly cooperates with the Eszterházi Fest ivities in Fertőd. In 2014 she was the bassoonist of the Baroque Fest ival Orchest ra in Miercurea Ciuc. Since 2014 she has been a scholarship holder of the Yehudi Menuhin Live Musik Now Leipzig e.V. association. Maria Petrescu started her musical st udies at the Dinu Lipatt i Music College in Bucharest, then she obtained a degree with specialization in oboe at the National University of Music in Bucharest . During her university years she took part in the Baroque music classes under the guidance of Petre Lefterescu and Mihail Ghiga. She played in several symphonic orchest ras and chamber music ensembles. After completing her st udies, she taught oboe at the George Enescu Music College and at the Iosif Sava Art School in Bucharest. Since 2008 she has participated in the Early Music Summer School in Miercurea-Ciuc, where she st udied the Baroque oboe in Guido Titze’s class. Later she polished her knowledge on the courses held by Katharina Suske, Katharina Arfken, Marcel Ponseele and Alfredo Bernardini. She performs in several early music ensembles such as the BAROCkers ensemble, the Collegio Stravagante, the Gli Studiosi di Sebastiano and the Sectio Aurea. Since 2010 she has been member of the Baroque Festival Orchestra in Miercurea Ciuc. In 2013 she was admitted to Alfredo Bernardini’s class at the Early Music Department of the Conservatory of Amsterdam. Éva Szabó (born Málnási) started her music st udies at the Nagy Ist ván Fine Arts and Music High School in Miercurea Ciuc in 1995. After graduation she continued her st udies at the Transylvania University of Brașov, attending dr. Ignác Csaba Filip’s flute courses. In 2007 she obtained her university degree and in 2009 she obtained her Master’s degree. At present she is a teacher at the Nagy Ist ván Fine Arts and Music High School in Miercurea Ciuc. She has attended the courses of Ist ván Matuz and Gergely Ittzés within the framework of the Békés-Tarhos Music Days as well as the masterclasses of Swiss flute artist Brigitte Buxtorf several times. She has performed as a soloist with the Târgu Mureș Philharmonic Orchestra, the Miercurea Ciuc Chamber Orchestra and the Georgius Chamber Orchestra from Sfântu Gheorghe several times. Since summer 2003 she has been member of the Codex ensemble, playing the recorders, the Baroque flute and percussions.



| photo • Gyula Ádám

Lacrime e gioia - Tears and Joy Mikó Cast le, Friday 10 July, 22:00

John Dowland (1563–1626): Flow my Tears (1596) Jacob Van Eyck: Pavan Lachrimae – Bravade (Utrecht, 1644) Pierre Certon (1510/20–1572): J’ai le rebours – Barriera (Caroso: Il Ballarino, 1583) Pavane Lesquercarde – Galliarde la Rocque (Pierre Phalèse, ed., 1571) Giulio Caccini (1551–1618): Amarilli mia bella Jacob van Eyck: Amarilli – France Courante (Utrecht, 1644) Giovanni Paolo Cima: Sonata (Milan, 1610) Dario Castello: Sonata Seconda (Venice, 1624/29) Jacques Arcadelt (1507–1568): O felici occhi miei Diego Ortiz: Recercada segunda (Rome, 1552) Zoltán Széplaki – recorders, Renaissance flute Réka Palócz – voice Ist ván Csörsz Rumen – lute Att ila Kovács – archiliuto


Tears and joy – these two feelings and states have been determining inspirations for music for thousands of years. It is not surprising that on the border between the cinquecento and seicento, at the turn of the sixteenth and seventeenth centuries an ever greater emphasis was laid upon the authentic presentation of feelings in various arts, from painting, through music, to the new golden age of drama. Italy became the fertile soil of artist ic trends st riving for expressing sentiments not only in the field of fi ne arts, but also in that of music, and the st ylist ic features that were formed there influenced music throughout Europe. Th is is why the programme is not rest ricted to Late Renaissance Italian compositions; it includes French, English and German pieces of similar spirit as well.



| photo • Gyula Ádám

Io son un pellegrin

Mikó Cast le, Saturday 11 July, 17:00

Giovanni da Cascia (14th c.): Io son un pellegrin Francesco Landini (1325?–1397): Grampiant’ agl’occhi - Lasso! di donna Antonio Gardano (1500–1571): Bicinium Vincenzo Galilei (1530–1591): Contrapunto I-II Bernardino Lupacchino (16th c.): Bicinium Giovanni Giacomo G. Gastoldi (1556–1622): Bicinium Pietro Vinci (1535–1584): Il gambaro con denaretto Constanzo Festa (1490?–1545): Afflitti spirti miei Unknown composer (around 1500): Moro de doglia Giovanni Domenico da Nola (1515?–1592): Chi la gagliarda LYCEUM CONSORT Katalin Izsák – recorders Zsófia Nagy – recorders Ágnes Öllerer recorders, artistic director Kinga Öllerer – recorders


At the 2014 Miercurea Ciuc Early Music Fest ival, within the fest ival programme entitled Ricercar, they presented the birth of European musical polyphony. Th is year their programme is the organic continuation of this endeavour. Among the composers we can fi nd the Florentine F. Landini, the most significant master of ars nova, V. Galilei, experimenter of monody and st ilo recitativo, member of the Camerata Fiorentina, G. Gastoldi, who became renown in Mantua and Milan for his jaunty dance melodies, the Venetian A. Gardano, master of the school of Rome, and C. Festa, pioneer of the imitative st yle and precursor of Palest rina. The titles of the musical pieces refer to experimentation, to the search of “il dolce st il nuovo”: bicinium, contrapunto, ricercar, but we can equally fi nd ballata and madrigal. It is in this period that the fi rst independent inst rumental genres emerge. Their present programme is a musical peregrination in the Italy of the trecento, quatt rocento and cinquecento, at the breakline between ars nova and the Renaissance. The Lyceum Consort was founded in Bucharest in 1992. Its members are present and former pupils of the Ady Endre High School in Bucharest . The ensemble’s main object ive and ars poetica is the st udy and extensive promotion of medieval and Renaissance music. Their repertoire contains both religious and secular, vocal and inst rumental musical pieces, many of which were performed by the ensemble for the fi rst time in Romania. The Lyceum Consort ensemble carries out its act ivity on multiple levels. The secondary school pupils and seniors have different repertoires and perform separately, but each year the whole group reunites for a joint concert. The number of the ensemble’s full-length programmes is over 30; they were recorded and broadcast by the television and radio several times. The number of their concerts held in Romania, Hungary and Germany exceeds 500. They have received several national and international awards throughout the years: the Rezső Zsizsmann Prize of the Hungarian Song Association from Romania; the Ist ván Nagy Prize of the Hungarian Cultural Society of Transylvania; the Silver Cudweed Prize of the Association of Hungarian Pedagogues in Romania; the Golden Cross of Merit of the Hungarian Republic.



| photo • Gyula Ádám

O villanella bella

Mikó Cast le, Saturday 11 July, 17:30

Hubert Waelrant (1517–1595): O villanella Orlando di Lasso (1532–1594): Madonna mia pieta (Il primo libro dove si contengono madrigali, villanesche, canzoni francezi e motetti, 1555) Pavaniglia (Cesare Negri: Le Gratie d’Amore, 1602) Filippo Azzaiolo (1540–1570): Al di dolce ben mio (Le Villotte del Fiore) Come t’agio Putta Nera ballo Furlano – L’arboscello ballo Furlano (Giorgio Mainerio: Il primo libro di balli a quarto voci, 1578) Domenico da Nola (1510–1592): Cingarissimo (Il primo libro delle villanelle alla Napolitana) Chiara stella (Fabritio Caroso: Il Ballarino, 1581) Rossino Mantovano (?1510): Lirum Bililirum CARMINA RENASCENTIA Ildikó Keresztesi – soprano, harp, recorders Tünde Lőrincz – alto, percussion Alfonz Jónucz – tenor, recorders, cornamusa, crumhorn Szilveszter Lőrincz – bass, recorder, viola da gamba János Vezér – recorders, crumhorn


Collaborators: Anna Enyedi, Bálint Enyedi (dance) and Norbert Nagy (harpsichord) Italy occupies an illust rious place on the 16th century European music scene. Italian religious and secular music are both characterized by generic richness and diversity of form. The Carmina Renascentia ensemble from Carei performs Italian composers’ villanelles, madrigals and canzoni. They also perform polyphonic song and dance music by Dutch composers who composed their works according to the Italian trend influencing the musical taste of the time. The Carmina Renascentia early music ensemble was founded in 2012. It continues an early music spiritual workshop act ivity of more than 30 years, started by Endre Deák in 1977. All its members performed in the former Collegium ensemble and played an act ive role in the life and development of the Transylvanian early music movement. The ensemble mainly performs 16th–17th century Transylvanian, Hungarian and Western European religious and secular music with the inst ruments of the time. They regard as their task to form a musical bridge which brings closer to today’s modern musical taste and revives through performance the inst rumental and vocal music that can be found in domest ic and Western publications. They have proved on several scenes and stages, both in the country and abroad, that the early music performed by them can be popular indeed and it has a place and transmits values for today’s audience.



| fotó • Radu C. Ilea

Viver lieto voglio

Mikó Cast le, Saturday 11 July, 18:30

Biagio Marini (1594–1663): Sinfonia La cornera a due canti (Venice, 1617) Claudio Monteverdi (1567–1643): Canzonette d’amore (1584) Kájoni Codex (17 th c.): Alessandro Grandi: Fantasia ‒ Unknown composer: Salve Regina ‒ Lodovico Viadana: Jubilate Deo ‒ Alessandro Grandi: Benedictus es Domine Girolamo Frescobaldi (1583–1643): Canzona Nona detta la Gualterina a due canti (Venice, 1635) Claudio Monteverdi (1567–1643): Lasciatemi morire! (1608) – Maledetto (1632) Johann Kaspar Kerll (1627–1693): Capriccio Sopra il Cucu (1679) Dario Castello (?1590–1658): Sonata Prima a due soprani (Venice, 1621) Giovanni Giacomo Gastoldi (1554–1609): Balleti (Venice, 1591) FLAUTO DOLCE Zoltán Majó – recorders, artistic director Mária Szabó – recorders Noémi Miklós – harpsichord Mihaela Maxim – soprano


The ensemble is going to perform Italian Early Baroque music of Venetian composers or of those related to the Venice region. Some of the compositions can also be found in the Transylvanian Kájoni Codex. The ensemble’s programme also includes compositions by Johann Kaspar Kerll. The new musical st yle, the Baroque, born at the beginning of the 17th century, brought along the bloom of inst rumental music. The composers included in the programme were all leading personalities of this inst rumental renewal. The canzona is the traditional genre, whereas the sonata represents the new, modern genre. The vocal pieces by Monteverdi and Gastoldi perfect ly fit – as counterpoint – into this collect ion of instrumental compositions. The ensemble used as sources János Bali’s 17th Century Italian Chamber Music (EMB, 1999) and Saviana Diamandi & Ágnes Papp’s Codex Caioni (EM / MTA, 1993). The ensemble Flauto Dolce was founded by Zoltán Majó in 2000 in Cluj-Napoca, at the Gheorghe Dima Music Academy, paying great attention to the preservation and presentation of early music from Romania. The soprano Mihaela Maxim’s voice perfect ly fits into the tonality of the ensemble. The ensemble has given more than 350 concerts; they have made several radio and television recordings and have responded to several fest ival invitations. They have released several CDs, the latest of which is their album Early Music from Romania 1750–1850. In October 2014 they participated in the 5th International Early Music Seminar, where, besides concerts, workshops were also held. Besides Romania, they have performed in Italy, Spain, Switzerland, Germany, Aust ria, Slovenia, Israel, Hungary, Slovakia and Serbia. Zoltán Majó, artist ic director of the ensemble, st udied the flute at the Gheorghe Dima Music Academy in Cluj-Napoca. After his graduation his interest turned towards the recorders and early music, and continued his st udies on masterclasses of Sabine and Tuomas Kaipainen in Switzerland, Anneke Boeke in Sopron, Hungary, as well as Michael Oman in Aust ria. As one of the prominent representatives of the early music movement in Romania, Zoltán Majó collaborated in several concerts and recordings in Romania and abroad. He is currently teaching at the Faculty of Reformed Theology of Babeș–Bolyai University in Cluj-Napoca, Romania. Mária Szabó is charter member of the Flauto Dolce ensemble. She graduated the Gheorghe Dima Music Academy in Cluj-Napoca, Romania, with specialization in music pedagogy, musicology and recorders. She attended numerous masterclasses abroad with Peter Holtslag, Marion Verbruggen, Sabine and Tuomas Kaipainen and Michael Oman. Besides her performing act ivity, she


is also a pedagogue, teaching at the Waldorf School in ClujNapoca, Romania. Noémi Miklós st udied the organ at the Gheorghe Dima Music Academy in Cluj-Napoca under the guidance of professors Ursula Philippi and Erich Türk. Later she participated in several masterclasses in Romania and Germany, and as an Erasmus scholarship holder she st udied one semester at the University of Music Freiburg in Germany. She gave many solo concerts in Romania, Germany, Hungary, and Switzerland. In 2005 she won the audience award at the Zürich Wiedikon International Organ Competition. She is currently teaching at the Faculty of Reformed Theology of Babeș–Bolyai University in Cluj-Napoca, Romania. Mihaela Maxim st udied canto at the Gheorghe Dima Music Academy in Cluj-Napoca, Romania. She attended the masterclasses of Lucia Stănescu, Corneliu Murgu and Mariana Nicolesco. She was awarded at several song competitions: Magda Ianculescu, Bucharest 1999; Sabin Drăgoi, Timișoara 1999; Ionel Perlea, Slobozia 2000; Brașov Song Competition 2003; Hariclea Darclée Brăila 2003 and 2005 Grand Prize. She polished her early music st udies in Trondheim in 2008, under the guidance of Jan van Elsacker, as well as in Krieglach with Mieke van der Sluis.


| photo • Gyula Ádám


Ad choreas ducendi

Mikó Cast le, Saturday 11 July, 19:30

Henry VIII (1491–1547): Passetyme John Dowland (1563–1626): Come again Ballo Anglese (M) Pierre Vermont (?1495–1558): Les yeulx bendez (Pierre Attaingnant, ed., 1533) Ballo Francese (M) Donna ch’avete (Bernardino Tomitano, ed., 1570) – Bálint Balassi: Krusith Ilona nevére (Keserítette sok bú…, the 1570s) La Fiamenga (M) – Diego Ortiz: Recercada segunda (1558) La Todesca (M) Ludwig Senfl (?1486 –1542/1543): Ich sag und clag vergangen tag Todesca (M) – Bassa Ducale (M. F. Caroso: Il Ballarino, 1581) Antonio Caprioli (1425–1475): Quella bella e bianca mano Ballo Milanese (M) – Passamezzo Vngarorum (Johannes Arpinus’s tabulature, around 1600) Tarquinio Merula (1595–1665): Sentirete una canzonetta, La Parma (M) Antonio Patavino (16th c.): Son più matti in questo mondo La Zanetta padovana (M) – Bálint Balassi: Nő az én örömem (on the melody of the Giannetta Padovana, the 1570s) Schiarazula Marazula (M)


L’Arboscello ballo furlano (M) Bálint Balassi: Kit egy citerás lengyel leányról szerzett (?1589) Ungarescha (M) M = Giorgio Mainerio: Il primo libro de balli (Venice, 1578)

DRA MSAM (IT) Guiseppe Paolo Cecere – voice, salterio (Renaissance dulcimer), hurdy-gurdy, lira da braccio Alessandra Cossi – voice, percussions Fabio Accurso – lute MUSICA HISTORICA (HU) Ist ván Csörsz Rumen – voice, lute, chitarrino, bagpipes, schalmei, crumhorn Roland Kasza – percussions, xylophone Att ila Kovács – viola da gamba, kobza, recorders, crumhorn Gabriella Miklós – recorders Réka Palócz – voice, bass cornamuse, Jew’s harp Zoltán Széplaki – voice, recorders, Renaissance flute, schalmei, crumhorn Dancers: Alessandra Cossi, Zsuzsa Szilágyi N., Anikó Szabó, Anna Enyedi, Bálint Enyedi, Péter Szutor Giorgio Mainerio (1530/40–1582) was born in Parma, his family was of Scott ish origin (he himself signed his name as Mayner). He was a church musician, mainly in in Udine and in Aquileia, but he was also interested in occultism. Besides his religious compositions, today his name sounds familiar in the world of music maily due to his famous collect ion of dances. Il primo libro de balli, that is, The First Book of Dances, was printed in Venice in 1578. According to its title, it was meant to be the fi rst volume of a series, but unfortunately it was not continued. According to musicologist Gilberto Pressacco, the four-part volume guides through the European music of the Renaissance, from England, through France, to Italy, then returns to the East, to Hungary. The last piece, the wellknown Ungarescha (’Hungarian’) reminds not only of Hungary, but also of the Hungarian community living in Udine at the time; their meeting place was the Villa Ongaresca (’Hungarian Villa’), where they could enjoy their own songs and dances. Mainerio also preserved melodies of folk origin from his homeland, the region of Parma and Friuli. The programme was assembled by G. P. Cecere, giving insight into the universe of songs of the respect ive countries and regions in the spirit of diversity. The pieces of Mainerio’s volume are often performed together with dances (dance master: Alessandra Cossi). In the memory of the


Italian-Hungarian cultural connect ions the Hungarian musicians enriched the programme with a few more pieces of music, among them, with songs of Bálint Balassi, with a lost Hungarian love song (which was allegedly dictated in Latin around 1570 by a Hungarian st udent from Padua to a linguist, who translated it into Italian and also published it) and with the melody of the Passamezzo Ongaro. The two ensembles presented the joint concert programme at the Musica Cortese Fest ival in Udine in 2009 and in 2013 they performed in the Knights’ Room of the Cast le of Gorizia. The name of the Dramsam ensemble is of Latin origin and comes from the name of a very old and small village in the north-eastern hills of Italy. Founded in 1985, the ensemble carries out its act ivity in the town of Gorizia and consists of musicians specialized in performing early music, presenting the medieval musical heritage thriving on the territory of the erst while Roman Empire, of the Mediterranean. The ensemble has recorded a large number of CDs; their music has been broadcast by the major European radio and television channels. Its present director, Giuseppe Paolo Cecere, aims to invest igate the vast European early music repertoire, to fi nd a balance between the “linguist ics” of the musical texts and the creative approach. The ensemble uses the reconstruction of original instruments. In the past ten years the ensemble has been performing at the most prest igious fest ivals within and outside Europe. Since 2010 the Dramsam has been the major scientific and musical coordinator of the exhibition of historical musical inst ruments managed by Giuseppe Paolo Cecere, located in the Cast le of Gorizia; the artist ic director is the director of the Musica Cortese Fest ival. The Musica Historica ensemble was founded in Budapest in 1988. In addition to classical and early music, its members also pursued Hungarian and Eastern European folk music, which decisively shaped their st yle. Their work relies on thorough research: the relationship between Hungarian and Central European music in the 15th–19th centuries; medieval and Renaissance sung poetry; Hungarian popular poetry of the 16th–19th centuries; the history of Baroque st yle. They are convinced that the scientific background cannot replace artist ic invention, as early music is a genre open towards experimentation. The ensemble’s repertoire mainly includes Hungarian and Central European music from the 11th–19th centuries, besides, we can fi nd medieval, Renaissance and Baroque Western European composers as well as Turkish court music of the 16th–17th centuries and ancient Greek music. The ensemble has performed on nearly 1200 occasions, among others, at prest igious fest ivals (Kaláka Fest ival, Velence Art Days, VivaceFest, Miercurea Ciuc Early Music Festival, Saint George Days, Fest ival of the Medieval Soul – Sighișoara, Musica Cortese – Gorizia,


etc.). They have been giving concerts in Transylvania for twenty years; they have performed in Upper Hungary, Italy, Aust ria, Germany, Poland, the Czech Republic and Turkey as well as in programmes of the MTV, the Duna TV, the TV5 France, the Hungarian Radio and the ORF. They have published six CDs, collaborated with Tamás Kobzos Kiss on two of his CDs and on further audio anthologies, tapes, CD-ROMs and theatrical music recordings. Since 2008 the members of the ensemble have been giving early music courses and professional lect ures at the Miercurea Ciuc Early Music Fest ivals.


| photo • Willy Grossmann


Fiori musicali

Mikó Cast le, Saturday 11 July, 22:00

Alessandro Piccinini (1566–1638): Toccata X. – Corrente V. – Corrente – Toccata Giovanni Antonio Pandolfi Mealli (1630–1670): Sonata quarta „La Castella” Op. 3. Sonata seconda „La Cesta” Op. 3. Marco Uccellini (?1603–1680): Sonata over Toccata quinta detta „La Laura Rilucente” Sonata seconda detta „La Luciminia contenta” Anonymus: Cassandra Giuseppe Antonio Brescianello (1690–1758): Partita III. Allegro – Adagio – Gigue Ignazio Albertini (1644–1685): Sonata quarta in do minore Girolamo Frescobaldi (1583–1643): Toccata per liuto


Giangiacomo Pinardi – theorbo Mónika Tóth – Baroque violin In line with the aest hetics of the so-called seconda practica, the artists invite their audience on a journey in the 17 th century Italy, to experience the birth and bloom of the sonata, toccata and ricercare. In the preface of his madrigal and aria collect ion Le Nuove Musiche Giulio Caccini writes about the importance of the performer’s demeanour. If the performing artist is capable of the sprezzatura, that is, of the att itude of a dist inguished nonchalance, then s/he is really capable of affect. Their select ion includes a diversity of colours and scents for us to admire their grandeur and contrast. After st udying the guitar with Costantino Amiti, Giangiacomo Pinardi got specialized in early plucked st ring inst ruments with Massimo Lonardi at the Music Inst itute in Pavia. He annually attended the Early Music classes of the Venice School. He is an internationally recognized personality; Giangiacomo Pinardi published the critical edition of F. Corbetta’s works. He collaborated with several ensembles performing Renaissance and Baroque music: I Barocchisti; Zefiro; Balthasar Neumann Ensemble; Odhecaton; I Solist i Veneti; Alessandro Stradella Consort; Accademia San Felice; Arte Resoluta; Curtes Francae; Fantazyas, etc. In 2001 he was invited by Fabio Biondi to play continuo in the ensemble Europa Galante, regularly performing with them at the most renowned opera and music events all over Europe, the USA, South America, China, Korea, Hong Kong, Japan and Aust ralia. As a performer he has worked on the recording of more than sixty albums at the EMI-Virgin, Sony, Decca, Opus 111, Naxos, Glossa, Chandos, Amadeus, Tact us, Dynamic, Bongiovanni, Stradivarius, Orfeo, ASV Record and Claves st udios as well as in many European and American radio and television programmes. Mónika Tóth obtained her Honours Degree in violin teaching at the Franz Liszt College of Music in Szeged in 1997. In 1999 she obtained scholarships from the Soros Foundation and the Marco Fodella Foundation, which made possible for her to specialize in early music at the Accademia Internazionale della Musica in Milan, under Enrico Gatt i. In parallel with her st udies in Milan she also attended the masterclasses of Simon Standage, Lucy van Dael, Jaap Schröder and Malcom Bilson. In 2000 she won the second prize at the Premio Bonporti International Chamber Music Competition in Rovereto, and the third prize at the International Telemann Competition in Magdeburg in 2001. She obtained her summa cum laude Master’s Degree in Baroque violin at the Vincenzo Bellini Conservatory in Palermo in 2007, as Enrico Onofri’s (Il Giardino Armonico)


st udent. She regularly performs with European Baroque orchestras and chamber music ensembles: I Barocchisti; Ensemble Zefiro; Accademia Bizantina; Il Giardino Armonico; Dolce e Tempesta; Europa Galante; Capella Leopoldina Graz; Barucco Wien; Neue Hofk apelle Graz; Accentus Austria; L’Eclisse; Estro Cromatico, Silva Rerum. As a chamber music artist she participates in prest igious European early music fest ivals: Regensburg, Berlin, Barcelona, Leipzig, Vienna and Jerusalem. She has contributed to recordings with the Decca, EMI, Sony, Archiv, Naiv, Arts, Hungaroton, Symphonia, Amadeus, Brilliant Classics and Virgin record companies. She has taught the Baroque violin at Early Music Summer Schools in Tokaj, Agárd and Miszla (Hungary). Since 2012 she has been the Baroque violin teacher of the youth ensemble (Talenti Vulcanici) of the Centro di Musica Antica Pietà de’ Turchini in Naples.


Transylvania Baroque Ensemble

| photo • Gyula Ádám

Italian Early Baroque in Transylvania Bancu, Sunday July 12, 12:00

Dario Castello (1590–?1658): Sonata Terza (Sonate Concertate in Stil Moderno, 1629) Giovanni Batt ista Degli Antonii (1636–1698): Ricercata Seconda per violino et violoncello (Bologna, 1687) Girolamo Frescobaldi (1583–1643): Canzona Prima (1627) Girolamo Frescobaldi (1583–1643): Canzona La Bernardina (Roma, 1615) Heinrich Ignaz von Biber (1644–1704): Sonata representativa a violino solo e basso (1669) Allegro–Nachtigal–Cucu–Fresch–die Henn–der Hahn–die Wachtel–die Katz–Musquetir mars–Allemande Codex Kájoni (XVII c.): Suite Giovanni Batt ista Vitali (1632–1692): Ciacona e Pasacalia (Partite sopra diverse Sonate per il violone) Marco Uccellini (?1610–1680): La Bergamasca (1642) TRA NSYLVANIA BAROQUE ENSEMBLE Zoltán Majó – recorder, artistic director Ciprian Câmpean – Baroque cello Mátyás Bartha – Baroque violin Erich Türk – organ


The present programme is created according to the possibilities and st ylist ic features of the organ in Bancu. The organ has two keyboards (4’ and 2’) and it is one of the country’s oldest and smallest instruments. It probably originates from the 17th century and although there is no evidence to support its relation with János Kájoni, it can be claimed that it st ylist ically matches the music performed by Codex Kájoni. The Codex embraces various pieces from the Italian Early Baroque period and similar types of organs can be found in museums all over Italy. It is interest ing that although the organ produces a higher pitch than its today’s references, similar keyboard inst ruments (the four-legged spinets and harpsichords exhibited in the Italian museums (e.g. Tagliavini Collect ion in Bologna) demonst rate that this pitch was not uncommon in the Italian Early Baroque. Thus the Transylvania Baroque Ensemble aims to highlight the value of this remarkable inst rument with a contemporary programme full of life and contrasts. The Transylvania Baroque Ensemble from Cluj have dedicated themselves to Transylvanian Baroque music since 1995. Although using copies of period inst ruments, they also promote contemporary Transylvanian music and have premiered works by Hans Peter Türk, Adrian Borza, Dan Voiculescu, Adrian Pop and Cornel Țăranu. The ensemble’s act ivity is documented by five CDs and one documentary DVD about Transylvanian music, radio and television broadcasts as well as a brisk concert act ivity (about 500 concerts). They have been invited to Romanian fest ivals, top-class receptions and state ceremonies, but they also took part in numerous concert tours abroad (Germany, the Netherlands, Aust ria, Switzerland, Italy, Belgium, England, Portugal, Hungary, and Moldavia). They have a very rich concerting act ivity, also playing in various other chamber music groups throughout Europe. Zoltán Majó is a rest less promoter of early music in Romania, founder and artist ic director of the recorder ensemble Flauto Dolce. He teaches at BabeşBolyai University. Ciprian Câmpean is committed to baroques cello. He is member of numerous Baroque ensembles and chamber music groups (La Follia, Napocelli, Arioso). He is a permanent member of „Transylvania” State Philharmonic Orchestra in Cluj. In 2012–2014 he obtained his Master’s Degree on Baroque cello at Geneva University of Music. Erich Türk teaches organ, harpsichord, chamber music and organology at “Gheorghe Dima” Music Academy in Cluj. At the international “J.S. Bach” Organ Competition in Bruges in 2000 he won several prizes.


Mátyás Bartha has won several awards at chamber music competitions. He has collaborated with the Zürcher Streichquintett, the Euler Quartett, the Swiss Baroque Soloists. Currently he is member of the Basel Sinfonieorchester.


|photo • Gyula Ádám


Choreae & Carmina

Lăzarea, Sunday July 12, 12.00

Thoinot Arbeau (1519–?1595): Pavane – Belle qui tiens ma vie French Anonymous (16th c): Tant que vivray Claudin de Sermisy (1490–1562): Tant que vivray (poem by Clément Marot) Claudin de Sermisy (1490–1562): D’ou vient cela, belle (poem by Clément Marot) Tielman Susato (1500–1561): Bergerette – D’ou vient cela (Het derde musyck boexken, Antwerpen 1551) Tielman Susato (1500–1561): Signum Rondo – Saltarello Michael Praetorius (1571–1621): Tanzfolge 5 – Aufmarsch (Terpsichore, 1612) Pierre Certon (?1510–1572): La, la, la je ne l’ose dire Cesare Negri (1535–1604): Bianca fiore – Barriera (La gratie d’amore, Milan, 1602) Thomas Morley (1557–1602): The frog gallard John Dowland (1563–1626): Now, oh now I need must part (The First Book of Songs and Ayres, London, 1597) Giorgio Mainerio (16th c.): La Zanetta Padoana (Il primo libro di balli, 1578) – Nő az én örömöm (poem by Bálint Balassi) Michael Praetorius (1571–1621): Liebste, lass uns eilen (Ballett, Terpsichore, 1612)


KÁJONI CONSORT Éva Gyulai-György – viola, voice Ida Oláh Román – cello, voice Csaba Egyed – percussions, voice Lajos Ilyés – recorders, voice Katalin Veress – percussions, voice Erzsébet Farkas – voice Zsolt Fancsal – recorders, voice László Antal – voice Éva Kovács – recorder, voice Emerencia Kolumbán – recorder, voice Music was closely related to the Renaissance man’s life and love for arts. During the Renaissance choir music lived its golden age and dance was emerging as well. In the 16th century dance music appeared. Among the most popular dances were the basse danse, the tourdion, the types of branle, the allemande, the pavane, the gagliarda and the passamezzo. They danced at courts, courtyards, ballrooms and feast s. Dance music for lute, keyboard inst ruments and ensembles was published in all Western European countries. In France and Flanders several dance manuals were printed. Pierre Attaingnant, Jacques Moderne, Tielman Susato and Pierre Phalèse published dance manuscripts for all types of inst rument combinations. Dance manual writers emerged: Caroso, Cesare Negri and Thoinot Arbeau, whose L’Orchésographie (1589) is a cultural and dance-historical curiosity, presenting court life and people’s views during the Renaissance. For this programme several dance manuscripts were st udied and the chosen dances were mingled with their contemporary vocal compositions or their transcriptions. In some cases the inst rumental and vocal versions belong to the same composer. It is also quite frequent that we fi nd the same melody at composers of different nationality (e.g. Praetorius’s Tanzfolge dance and Pierre Certon’s chansonLa, la, la je ne l’ose dire). The world of popular French chansons greatly inspired the 16th century’s inst rumentalists. In this way the ensemble matched the chansons Bergerette by Tielmann Susato and D’ou vient cela, belle by Claudin de Sermisy written on the lyrics of C. I. Mariot in which one can hear not only the four-part variation but also the intavolering. However, the real message of the programme is the joy coming from the music of earlier ages. Renaissance vitality and exhilaration are inseparable – this is the way to express our joy: through dance and music.


The Kájoni Consort early music ensemble was founded in December 1988, but they had been present among the Transylvanian Renaissance ensembles under the name of “Erdővidéki Camerata” ever since 1980. At fi rst, they renewed the Renaissance manner of playing music for their own pleasure, as the common rehearsals represented entertainment and spiritual stimulation for all of them. The ensemble has undertaken to propagate the Renaissance and early Baroque vocal and inst rumental music. In addition to the pearls of European Renaissance music, they often include into their programme pieces of Transylvanian composers as well, especially the ones put down by János Kájoni. During the past years they have had several performances in Romania and abroad. Since 1990 the ensemble has been a regular participant of the Early Music Fest ival in Miercurea Ciuc, the Renaissance Days in Bicfalău, the Chamber Choir Fest ival in Sfântu Gheorghe and the Middle Ages and Renaissance Days in Vârghiş. In 2008 the ensemble went on a Western European concert tour (Vienna, Munich, Paris and London) aiming to propagate Hungarian and Transylvanian Renaissance music. They attend church celebrations, art exhibitions and charity concerts. The Mózes Gaál Association awarded them with “Erdővidék Kultúrájáért” (“For the Culture of Erdővidék”) Prize. Due to their remarkable work carried out to evoke European and Transylvanian Renaissance music, they were also awarded with “EMKE Diploma of Honour”. Since 2011 they have been organizing the Erdővidéki Early Music Fest ival in the Daniel Cast le in Tălişoara. They aim to support the Transylvanian amateur early music ensembles. In 2013 they celebrated their 25th anniversary in the company of several other early music ensembles.



| photo • Gyula Ádám

Harc az ember élete (Human Life Is a Struggle) Lăzarea, Sunday July 12, 12:30

Codex Kájoni (Transylvania, 17th c.): Ötödik tánc a hatodon – Apor Lázár tánca – Pajkos tánc (Isten hozzád rudimenta – Bocskor János’s Songbook, Csíkszentlélek, 1719–1736) Harc ember élete – Mit bízik ez világ – Ez világot Ádám hogy elveszté – Halljátok meg panaszimot – (Bocskor János’s Songbook) Valachian dances from Codex Kájoni, Codex Vietoris and Manuscript from Oponice, (17th c.) – Nici n-am furat (Bocskor János’s Songbook) Búcsúzó szavaim (Bocskor János’s Songbook) – Dádé zingcaricum – Tikha vgordonaczka (Codex Kájoni) Dances from Galata No. 15, 28 (Ignac Sauer: Ausgesuchte Ungarische Nationaltaenze, 1803) – Anton Zimermann (1741–1781): Zingaresi No. 5, 4. Pálóczi Horváth Ádám (1760–1820): Boldog ember, akinek sokra nincsen gondja (Ötödfélszáz énekek, 1813) Hungarian Dances (Manuscript from Sepsiszentgyörgy, 1757) Azt mondják, hogy nem illik – Ha meguntad életedet – Nehéz tudni célját végét – De mit töröm fejemet – Akinek most kedve nincs (Ötödfélszáz énekek, 1813) Hungarian Dances (Mártonff y Ist ván, 1813)


CODEX Ignác Csaba Filip – artistic director, recorders, flutes Éva Szabó – recorders, flutes, percussions László Kovács – violin, voice Éva Kovács – violin, voice Csaba Adorján – viola, contrabass Zsombor Lázár –cello Árpád Szőgyör – voice, contrabass In recent years the ensemble has most ly performed Hungarian, especially Transylvanian music. The compositions performed with a unique st yle are meant to address today’s people, with their different emotions. Th is year’s programme has been compiled from the most successful pieces of the past years. The Codex early music ensemble was founded in the autumn of 1996 by music teachers and st udents of the music department of “Transilvania” University from Brașov. The founders are at the same time members of the Baroque music

ensemble Cantus Serenus from Brașov. Their main goal is to give an authentic rendering of the Hungarian (especially Transylvanian) and European music from the 15th–19th centuries, using authentic inst ruments. From their earlier repertoire: the works of Castello, Cima, Frescobaldi, Salaverde, Hotteterre, Marais, Bach, Händel, Telemann, Corelli, Sartorius, from Codex Kájoni, the Apponyi manuscript, Codex Vietoris, the Sheet music manuscript from Sepsiszentgyörgy, as well as from adaptations of the Pálóczi Horváth Ádám and the Mártonff y Ist ván manuscripts. The ensemble also plays English and Flemish polyphonic music. Earlier concerts: Sfântu Gheorghe, Brașov, Miercurea Ciuc, Sighișoara, Târgu Mureș, Gheorgheni, Bucharest, Budapest, Rome, Paola, Lisbon.



| photo • Cécile Dalmon

From Prima pratica to Seconda pratica

Mikó Cast le, Sunday July 12, 18:00

Giovanni Maria Trabaci (?1575–1647): Consonanze Stravaganti (Componimenti per Organo, Rome, 1603) Diego Ortiz (?1510–?1570): Recercarta sobre la Spagna I–VI–V.; Recercarta sobre „O Felici O Occhi Miei”; Recercarta sobre La Romanesca (Tratado de Glosas, Rome, 1553) Johannes Hieronymus Kapsberger (1580–1651): Che fai tu vita mia (Libro segundo di villanelle, 1619) Giovanni Antonio Bertoli (?1645): Sonata quarta (Venezia) Johannes Hieronymus Kapsberger (1580–1651): Toccata settima (Libro Qvarto D’Intavolatvra Di Chitarone, 1640) Giovanni Felice Sances (?1600–1679): Usurpator Tiranno Lucas Ruiz de Ribayaz (1626–?1677): Tarentella (Luz y Norte Musica, 1677) Johannes Hieronymus Kapsberger (1580–1651): Colascione – Canario, (Libro Qvarto D’Intavolatvra Di Chitarone, 1640) Anonymus: Al alva venid (Cancioner de Palacio, Madrid, 16th century) Giovanni Antonio Bertoli (?1645): Sonata Settima (Venezia) LACERTAE Patrick Wibart – serpent Raphael Mas – contratenor, percussions Romain Falik – theorbo, lute Marie Vanrijhn – organ, harpsichord Th ibaut Roussel – theorbo, guitar


Founded under the impulse of Patrick Wibart, the Lacertae Ensemble aims to perform vocal and inst rumental pieces from the 15th–18th century. Th is unique formation binds the dark and captivating tones of the serpent with the bright voice of Raphael Mas, supported by broad st ring continuos, keyboards and ancient drums. The musicians of Lacertae develop their musical adventures under different forms and musical inventions, bringing the listener to a poetic journey beyond the experience of the sound. The instruments played by the musicians of the Lacertae ensemble are so-called “ancient” inst ruments. Rediscovered about 40 years ago, these inst ruments – most ly anonymous among the general public – allow us to appreciate early and Baroque music in their full measure. The theorbo, the lute and the Baroque guitar are originally oriental inst ruments spread from Spain to the whole of Europe. Over centuries, they took numerous forms and got adapted to the evolution of musical language. Th is is why we can dist inguish many groups within this family of inst ruments. The theorbo’s name refers to the extension of the neck designed for low st rings. The chords of the lute, with the exception of the highest one (cantarella), were doubled, similar to the early guitars. The serpent descends from the cornets, its body is made of wood and covered with leather and the mouthpiece is of wood or ivory. Its origin is hard to defi ne, some originate it from 15th century Burgundy, others from the south-west of France or northern Spain. It was used as a bass and much appreciated for its unusual sound, so similar to human voice. What would have happened if a serpent had been taken to Venice? In his Harmonie Universelle (1636) Marin Mersenne cannot sufficiently praise this special, 16th century instrument. The French love these serpent-like instruments but the Italians took it over only two centuries later. But what would have happened if the serpent musician had played works by Moneverdi or Bassano in the Italy of those days? The answer is given by the Lacertae Ensemble and Patrick Wibart playing the serpent during this fest ival concert based on Early Italian Baroque music. Patrick Wibart began to play the tuba at the age of six. His talent for music manifested early, so when he was ten he joined the children’s choir of Radio France conducted by Toni Ramon, where he sang for five years. He continued to st udy the saxhorn at Paris Regional Conservatory (CNR). Th ree years later he entered the National Superior Conservatory of Paris (CNSMDP) where he graduated in 2013 with congratulations of the board and special dist inct ion for the polyvalence of his inst ruments. He began playing the serpent with Michel Goddard. Within a few years he became the most dist inct French specialists of


this inst rument. He was invited to join several early music ensembles such as La Fenice, Le Parnasse Français, Les Passions, and took part in lots of recordings, particularly for Ricercar Label. He went on exploring old inst ruments, specializing on playing the ophicleide and the ancient tuba. For this in 2011 and 2013 he received sponsorship from Meyer Foundation. He is regularly invited to join orchest ras like La Chambre Philarmonique, La Grande Ecurie, Les Sièces, or the Orchestre National de France. However, chamber music remains his favourite: as a member of Quatuor opus 333 he graduated with honours from the CNSM of Paris in 2014. He has also founded the early music ensemble Lacertae and, with composer and conductor Benjamin Attahir, the ensemble Aenea.


| photo • Gyula Ádám



The Courtyard of Mikó Cast le, Sunday July 12, 19:00

Works by Antonio Vivaldi L’Olimpiade – Uvertura, RV 725 Cembalo concerto in A Major, RV 780 Allegro–Andante–Allegro Viola d’Amore concerto in D Minor, RV 540 Allegro–Largo–Allegro Sinfonia in F Major, RV 137 Allegro–Andante–Presto Concerto D minor, RV 565 Allegro–Largo e spiccato–Allegro Recorder concerto in C Major, RV 443 Allegro e non presto–Adagio–Allegro Le Stagioni – L’Estate, RV 315 Allegro non molto–Adagio–Presto BALKA N BAROQUE BAND Mihail Ghiga – violin Mircea Ionescu – violin László Kovács – violin Csaba Adorján – viola Zsombor Lázár – cello


Árpád Szőgyör – double bass Erich Türk – harpsichord Ignác Csaba Filip – flute In 2014 the Balkan Baroque Band played a repertoire based on French music during the Early Music Fest ival in Miercurea Ciuc. Th is year’s concert bears the name Vivaldissimo and is made up of solo concerts. Why Vivaldi? Because it is classical and complex, concise and virtuoso. Though there were composers who developed Baroque music to its extremes, Vivaldi is the most outstanding representative of Italian Baroque music, who was the defi ning personality of the fi rst half of the 18th century – a time of musical exuberance and major innovations. Balkan Baroque Band – or BBB – is a Baroque ensemble which made its debut in November 2010 at Thessaloniki, and fi rst performed on the st age of the Romanian Athenaeum in November 2011. The Balkan Baroque Band project has started with the worthwhile idea of joining the Baroque musicians on the Balkan Peninsula – separated by cultural and fi nancial barriers – into an orchest ra, under the guidance of the French flutist Jean-Christophe Frisch. The roots of the music of the Balkan Baroque Band originate from their passion for experimenting and making these experiments come true. The band has a very unique sound which is achieved with virtuoso Baroque musicians who live and work in this special geographical region: Romanians, Hungarians, Croatians, Greeks, Serbs and Bulgarians. Since 2011 Balkan Baroque Band has been participating in countless French fest ivals, both as a broadened and as a chamber music orchest ra, and since 2012 they have been involved in the achievement of the Wu-Wei show, with Vivaldi’s Seasons, a performance with an enormous success with over 100 representations in the Netherlands, Switzerland and France in the past two years. Mihail Ghiga has been interested in Early music since he was 18 years old, being att racted by the liberty and diversity of this field. In the years 2002 and 2003 he participates at Academie d’Ambronay, as a soloist and concertmaster. His accomplished projects include: the Codex Kájoni programme, Decebalo by Leonardo Leo, Pyram and Thysbe by Montéclair-Lampe, Fairy Queen by Purcell, Alcina and the oratorio La Ressurezione by Händel, Villancicos per la Navidad by Francesco Corselli, etc. He was the director of F. I. M Research Centre – National University of Music, Bucharest, artist ic consultant of the Early Music Fest ival in Miercurea Ciuc and of the Orange Awards for Young Musicians. Since 2008 he has been the concertmaster of BAROCkeri ensemble and since 2012 the director of Early Music Centre of the National University of Music, Bucharest.


| photo • Ádám Gyula

8th Early Music Summer School • July 5-10, 2015 “Nagy István“ Art School, Miercurea Ciuc,  Libertăţii Square Masterclasses: Recorder and flute – Zoltán Széplaki (Budapest, Hungary) Baroque violin – Piroska Vitárius (Budapest, Hungary) Voice – Réka Palócz (Budapest, Hungary) Harpsichord and basso continuo (July 6–10) – Erich Türk (Cluj-Napoca, Romania) Lute and guitar – Ist ván Kónya (Budapest, Hungary) Viola da gamba and basso continuo – Ist ván Csata (Cluj-Napoca, Romania) Percussions in early music, percussion chamber course: musical plays, improvisation, phrase-compilation – Roland Kasza and Balázs Sudár (Budapest) Renaissance and Baroque dances (it starts at least with 6 participants) – Anikó Szabó (Cluj-Napoca, Romania) NEW! Music Criticism – Evaluation Criteria for Early Music Performances (between July 7–11) – Elena Maria Şorban (Cluj-Napoca, Romania) All participants may attend a Renaissance ensemble masterclass under the guidance of Ist ván Csörsz Rumen (HU) and morning dance classes with Anikó Szabó (RO). Public lect ures during the Summer School will be between July 7-9, 16.00. Book launch: Lantkönyv (The Book of the Lute) – The Wanderings of the Lute in Europe; Renaissance Lute Methodology; Renaissance Lute Anthology by Ist ván Kónya (2014) Lect ures: Zoltán Széplaki: Stylized Italian Dance Tune Types in Baroque Inst rumental Music G. Paolo Cecere: The Privilege of the Melody in Italian Music Harpsichord accompaniment by: Noémi Bognár (RO), Zsolt Garai (RO) Collaborators: Katalin Hanke (Braşov), Elena Maria Şorban (Cluj-Napoca)


Piroska VITÁRIUS (HU) – Baroque violin Piroska Vitárius graduated as a violin teacher from Liszt Ferenc Academy of Music in 1994. She has participated in several early music courses all over Europe. She taught Baroque violin and chamber music at the Faculty of Music, University of Szeged. She performed in the Concerto Armonico ensemble and was a founding member and concertmaster of Orfeo orchest ra. Currently she is the concertmaster of Savaria Baroque Orchest ra, member of Musica Profana and Tercina ensembles, she participates in other early music groups and teaches Baroque violin during the Renaissance and Baroque Week in Győr. She is the soloist of several national and international concerts and CD recordings. In 2007 she presented Six violin Concertos writt en by M. L. Lombardini Sirmen edited by “Hungaroton” Record Label.

Réka PALÓCZ (HU) – voice Réka Palócz graduated from the Music Faculty of Széchenyi Ist ván University in Győr as a st udent of Judit Németh, specializing in voice. Later she improved her craft smanship as a participant of the masterclasses of Júlia Hamari, Anna Reynolds and Ilona Adorján. Between 1993 and 2003 she was the vocal teacher of the Bartók Béla Choir of Eötvös Lóránd University, Budapest and as the soloist of this choir she had concerts on several local and international tours. She has been a member of the Musica Historica Ensemble since 1994 and she contributed to hundreds of their concerts. She has released five CD records with this ensemble and she contributed to the CD att achment of the ancient Hungarian love-song anthology entitled “Haja, haja, virágom...”. She performed several chanson and aria recitals in Hungary, Switzerland and Germany. Currently she is the deputy headmist ress and teacher of the Hermann László Music Secondary School in Székesfehérvár, Hungary. Since 2001 she has been teaching classical singing, among her st udents one can fi nd not only classical but also folk singers and actors/act resses. Since 2010 she teaches singing at the Department of Folk Music, Liszt Ferenc Academy. In her teaching she lays great emphasis on att uning the accents of text and music. Erich TÜRK (RO) – arpsichord and basso continuo Erich Türk was born 1972 in Cluj (Romania). He st udied organ in Cluj with Ursula Philippi and in Vienna with Michael Rădulescu. He st udied harpsichord with Gordon Murray and Ilton Wjuniski, and has attended several harpsichord and continuo courses in Portugal, France, Germany, Switzerland and Moscow. Between 1995-1999 he was organist and choir conductor at the Lutheran Church in Mediaș. Currently he teaches harpsichord, organ, organology and chamber music at Gheorghe Dima Music Academy in Cluj. Both as a soloist as well as chamber musician and choir conductor he performed in many European countries, performing with the Transylvania Baroque Ensemble, the Balkan Baroque Band and other groups. He performed in several radio, TV and CD recordings, and with the Baroque Ensemble Transylvania he published a documentary DVD with Transylvanian music. Erich Türk is involved in the research of early music and early inst ruments, being a frequent


Teachers and speakers

Zoltán SZÉPLAKI (HU) – recorder and flute Zoltán Széplaki was born in 1972 in Budapest . At an early date he came into contact with László Czidra and the Camerata Hungarica Ensemble. He participated in several International Baroque recorder masterclasses under the direct ion of Anneke Boeke, Peter Holtslag and Walter van Hauwe. He earned his fi rst musical diploma (recorder) in 1999 at the Early Music Faculty of the Conservatory in Szeged (Hungary) as a st udent of László Lőrincz, and earned his second one (Baroque flute) in 2002 at Liszt Ferenc Academy of Music in Budapest under the direct ion of Vera Balogh and Ildikó Kertész. He is currently working on his PhD thesis. Since 1998 he has been teaching at the Bartók Béla Music Inst itute of the University of Miskolc and at the Bartók Béla Secondary School of Music in Miskolc as a recorder teacher. He is a regular jury member of regional, national and international competitions and he held several early music masterclasses as a teacher. He has been a member of Musica Historica Ensemble since 1990 and he has also worked with some other Hungarian ensembles. He performed in more than a thousand concerts in Hungary and all over Europe and he contributed to eighteen music records. In his teaching work he aspires to extend the sound of woodwind inst ruments; in his performances he lays great emphasis on applying different kinds of dance characters and on the musical representation of common language.

guest of Romanian early music fest ivals. He founded the TransylvANTIQs record label dedicated to promote local music culture. He also performs contemporary music and premiered several contemporary musical pieces by inland composers. At the international J.S. Bach organ competition in Bruges 2000 he was awarded the 2nd prize and the audience’s prize. He is regularly invited to the Early Music Fest ival in Miercurea Ciuc, this year he is having a harpsichord course during the Early Music Summer School.

Teachers and speakers

Ist ván KÓNYA (HU) – lute and guitar Ist ván Kónya is a lute artist . He obtained his fi rst diploma in History and Music in 1985 at the Teacher Training College in Szombathely (Hungary) and then he st udied classical guitar in Debrecen (Hungary) at the Debrecen department of Liszt Ferenc Academy with the guidance of Zoltán Tokos. Between 1989 and 1994 he st udied at the Royal Conservatory of The Hague (the Netherlands), majoring in Renaissance and Baroque lutes, archlute and chitarrone guided by Toyohiko Satoh. There, he gained his lute diploma in 1994, being the fi rst Hungarian lutist to graduate. He obtained his chamber music degree in 1996 and then he attended masterclasses with Nigel North and Steven Stubbs. As a soloist and an accompanist and being a member of various ensembles he gives concerts in several countries in Europe and America. Since 1993 he has held regular lute courses in early music fest ivals of Hungary. He was a lute teacher and artist ic director of: Early Music Summer School (in 1996-1998, Szombathely), of the “International Lute and Guitar Fest ival” (in 2006-2008 in Győr, Hungary), of Savaria Early Music Course between 2005-2009. Since 2010 he has been the lute and guitar teacher the Early Music Summer School in Miercurea Ciuc, Romania. He is a contributor of several radio and TV programmes, CD recordings. His solo CDs are: “Lute Music of Three Centuries”, “S.L. Weiss: Lute Suites”, “Rutafának három ága” (with Szilvia Bognár). He performed in a series of lute concerts called “Lute Evenings in Buda Cast le” having had over 50 recitals in the Gothic Hall of Budapest History Museum. In 2004 his book in three volumes entitled “Book of the Lute” was published for which he was awarded the


diploma of merit of the Hungarian Early Music Society. More info: Ist ván CSATA (RO) viola da gamba and basso continuo Ist ván Csata st udied at “Nagy Ist ván” Art Secondary School in Miercurea Ciuc, obtained his contrabass degree at “Gheorghe Dima” Music Academy in Cluj-Napoca. Currently he is a member of Transylvania State Philharmonic Orchest ra. He taught himself early music and viola da gamba, later he st udied under the direct ion of László Ilse Herbert. Soon after he attended masterclasses in Switzerland, st udying viola da gamba with Guido Balest racci and basso continuo with Pierre-Alain Clerc. He participated in several masterclasses with chamber music and solo repertoire under the guidance of Bruno Cocset, Hervé Douchy, Mira Glodeanu, Jan De Winne and Françoise Lengellé. He has collaborated with early music ensembles from the country and abroad, like Ausonia (Brussels), Il Gardell ino (Brugge), Chanterelle (Cluj-Napoca). He is the founding member of the Baroque music ensemble Fonte di Gioia. He is invited to several national and international concerts with solo and chamber music product ions. Roland KA SZA (HU) – percussions in early music, percussion chamber course: musical games, improvisation, phrase-compilation After elementary percussion and piano st udies with Károly Radányi, Roland Kasza st udied percussion at the Secondary School of Arts in Szombathely (Hungary) as a st udent of László Szűcs and Magdolna Szarvas. He earned his chamber musician and music teacher diploma at the Music Faculty of Széchenyi Ist ván University, Győr in 1999 as a st udent of László Váray. From the autumn of 2003, he was a st udent at the Conservatoire Royale de Bruxelles. Kasza now teaches in Weiner Leó Music School in Budapest as leader of the percussion department. His pedagogic work focuses on chamber music and applying percussion inst ruments to early music. His pupils took part in prest igious solo and chamber music competitions, his work has a teacher being specially awarded. Together with his st udents, he gives performances both in the country and abroad. He has been a member

of Musica Historica ensemble since 1995. In 1999 he joined the Canlar ensemble playing Turkish classical music. Balázs SUDÁR (HU) – percussions in early music, percussion chamber course: musical games, improvisation, phrase-compilation Balázs Sudár started his musical st udies with the kobsa (Romanian and Hungarian plucked folk inst rument) at the Folk Music School in Óbuda with Tamás Kobzos Kiss. Here he also took part in a one-year masterclass on the saz, a Turkish classical inst rument, with Erdal Şalikoğlu from Ist anbul. Later, on his journeys to Ist anbul, he took private lessons from Yusuf Benli who is a master of the saz (bağlama) as well as teacher of music theory. He obtained his diploma in History and Turkish culture at Eötvös Lóránd University, Budapest . Until 2003 he worked there as an assist ant lect urer and he defended his PhD thesis in 2004. Since the autumn of 2003 he has been member of the Inst itute for Historiography at the Hungarian Academy of Sciences, receiving a scholarship for young scientist s. His main areas of research: Turkish aşik poetry, classical Islamic music theory, the cultural relationships of the areas under Turkish occupation, and in particular, the role of the bektashi dervish order mediating between two cultures and the history of Middle-Asian inst ruments. Author and co-author of several books, in recent years several of his st udies and translations have been published. For his scientific achievements in 2006 he was given the “Youth Award of the Academy” and the Klaniczay Award, the highest professional reward for researchers in early Hungarian literature. He was a regular member of the Musica Hist orica ensemble from 1990 to 2011, but as a guest artist he st ill takes part in their act ivity. Apart from playing music, he directed the medieval French comedy entitled Aucasin and Nicolete (1993) and has made several reconst ruct ions and copies of early music inst ruments. In 1997 he founded the Ensemble Canlar specializing in Turkish classical and folk music. He has occasionally participated in other groups as well. Anikó SZABÓ (RO) – Renaissance and Baroque dance class for all participants She has various kinds of interest s. By profession she is a layout editor, but besides she teaches dance and at the same time she is also engaged in other

act ivities, like permaculture design, conducting mourners’ groups, as well as solving physical, mental and emotional problems with the help of the method called “inner journey” developed by Brandon Bays. Since her birth she has been a very dynamic person. In her childhood she attended gymnast ics, ballet and fencing classes. During her university years, thanks to the initiative of Anikó László Bakk and Ignác Filip, she had the opportunity to take part in Gábor Kovács’s dance course, encountering with Renaissance music and dance. She became member of the newly formed ensemble called Amaryllis and they had a performance during the fi rst Mátyás (Matt hias) Days. More and more new members of the ensemble asked her to teach them. Their trust , confidence and fondness were the key to her progress. She has trained herself with teachers like Françoise Denieau, Bérengère Bodénan – on the Baroque dance course organised by the Académia de Sablé and Széll Rita – on the Baroque dance course held at the Early Music Days (Fertőd, Hungary). She was an act ive member of Passamezzo and then of Passeggio ensembles. Beside the dances of early times she has tried out other genres like folk dance, contemporary dance, yoga, Tai chi, Chi kung, Aviva gymnast ics, Pilates, convict conditioning, articular gymnast ics, kinesitherapy, etc. The mixture of these kinds of movements have formed her individual and unique way of teaching. She has became a st age director and choreographer of Collegium Gabrielense (Aiud, Romania) and Renaissance (Deva, Romania) dance groups. She is a regular guest teacher at the Early Music Summer School of Miercurea Ciuc and, in addition, she leads Renaissance dance courses and play schools on request . Elena Maria ŞORBAN (RO) – Music Criticism: Evaluation Criteria of Early Music Performances Elena Maria Şorban has done her PhD at the Academy of Music in Cluj-Napoca, her thesis is entitled “The Plainchant in Medieval Transylvania”. She st udied at the Kodály Inst itute in Kecskemét, at the Inst itute for Musicology of the Hungarian Academy of Sciences in Budapest , at University Erlangen-Nürnberg with DAAD scholarship, at Madeira Conservatory and at the National University of Music in Bucharest . At present she teaches music history and Gregorian paleography at „Gh. Dima” Music Academy in Cluj-Napoca and also teaches analysis of Bach-


cantatas at the Babeș-Bolyai University, Cluj. She has given public lect ures in Cluj, at the Early Music Fest ivals in Miercurea Ciuc and Timişoara, but also at Universidade Nova in Lisbon. She has been a translator during the Early Music Fest ival in Miercurea Ciuc for years.

Teachers and speakers

István CSÖR SZ RU M EN (HU) – Renaissance ensemble masterclass Ist ván Csörsz Rumen was born in 1974 in Budapest . After st udying cello, he became interested in folk music and early music. He graduated at the Folk Music School in Óbuda with the guidance of György Lányi and Tamás Kobzos Kiss, specializing in cobza and bagpipes. He took part in several Renaissance mast erclasses taught by László Czidra in Keszthely and he taught himself to play many other historical inst ruments. He obtained his fi rst diploma at Eötvös Loránd University (Budapest) in Hungarian language and literature in 1997 and in 2004 he defended his PhD thesis entitled “The literary and musical background of the ungaresca form”. In 2000-2001 he was a recorder teacher and since 2001 he has been working at the Inst itute of Literary Studies of the Hungarian Academy of Sciences. He fields of research: ancient Hungarian sung poetry, the metric and melodic systems of printed popular poetry from the 18-19th century and its musical and literary relationship with the Middle European tune systems. He is the author of several books, more than 50 articles, a monograph and editor of critical editions. He is managing editor of the periodical in art history and literary criticism called “Irodalomtörténeti Közlemények”. He is the founder and leader of the ensemble Musica Historica (canto, plucked st rings and wind inst ruments). Since 1997 he has been the chairman of the Musica Historica Cultural Association. He is a member of Carmina Danubiana and the Falkafolk, he regularly gives concerts as a soloist and with Klára Bodza and Márta Sebest yén in Hungary and abroad as well. He has written music for the st age, he is a contributor of various CDs, CD-ROMs and TV fi lms. For his research and as a recognition of Musica Historica Ensemble he was awarded the Tinódi-lute in 2003, the Academic Youth Award in 2007, the Kiss József


Award in 2014, the Martinkó András Award in 2015. Th is year is the fi ft h occasion that he leads the Renaissance ensemble masterclass at the Early Music Summer School in Miercurea Ciuc. Artist ic consultant of the Fest ival Ignác Csaba Filip learnt to play the flute as a st udent of Áment János at the Art School in Târgu Mureș. He graduated the Academy of Music in Cluj Napoca, in the flute class of Gavril Costea, his chamber music professor was László Ferenc. He attended international master’s courses where he acquired the techniques of flute and recorder (blockflöte) from teachers such as: Ulrike Engelke, Gerald Matschke, Gunter Pohl, Monika Kaminski, Anneke Boeke, Heiko Shegget, Paul Leenhouts, Karel van Steenhoven, Peter Holtslag and László Lőrincz. As member of the ensembles Cantus Serenus, Amaryllis, Georgius, Codex, Stravagante he performed at many national and international chamber music concerts and operas. Between 20012003 he was the musical conductor of the Tamási Áron Theatre in Sfântu Gheorghe, where he also composed music for the st age. As a flute soloist he collaborated with several philharmonic orchest ras (Cluj Napoca, Târgu Mureș, Brașov, Oradea, and the Orchest ra of Bucharest Radio). In 1998 he published two methodology books, entitled „Furulyaiskola” (Recorder School) and „Furulyamuzsika” (Recorder Music) which appeared in fi ve editions. He has several radio and television recordings. In 1994 and 1995 he recorded two CDs with the Anonymus Ensemble from Cluj Napoca at the Hungaroton record label. In 2004 and 2006 he created CDs that include Hungarian Baronial Music with the Codex Ensemble. Since 1996 he has been working as a lect urer at Transylvania University Brașov. In 2004 he received his PhD at „Gheorghe Dima” Academy of Music and founded the Georgius Association and Ensemble. Since 2008 he has been the artist ic consultant of the Early Music Fest ival and Summer School, Miercurea Ciuc.

Early Music Festival Miercurea-Ciuc 2015 - programme booklet

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