T BELLA LA
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 www.ccenter.ro, email@example.com 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.
LA FONTE MUSICA
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”.
ISTVÁN KÓNYA & ANDRÁS VÁNYOLÓS
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: www.lant.hu 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.
BAROQUE FESTIVAL ORCHESTRA
| 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.
ZOLTÁN SZÉPLAKI, RÉKA PALÓCZ, ISTVÁN CSÖRSZ RUMEN, ATTILA KOVÁCS
| 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
DRAMSAM & MUSICA HISTORICA
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
MÓNIKA TÓTH, GIANGIACOMO PINARDI
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
BALKAN BAROQUE BAND
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: www.lant.hu. 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.