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2013. július 11–14.

10th-13th July 2014

www.musicaantiqua.ro


It is praiseworthy that the Early Music Festival is capable to renew and increases its public's interest from year to year. People lately recognize that with the appearance of new instruments and genres we can speak not only about development, but also about losing some interesting shades and delicacies typical of early music. Those ones who are able to hear these delicacies fall in love with old music and become loyal visitors of our festival that brings back the familiar atmosphere of old times even by playing the old music in historical manner. Dr. Ignรกc Filip, artistic director


Festival Program Thursday, 10th of July

13.30 – 14.00 street music Students of the Early Music Summer University Majláth Gusztáv Károly square 18.00 opening ceremony of the Festival 18.30 Mandel Ensemble (Hungary) 19.30 Codex Ensemble (Romania) Courtyard of Mikó Castle * 22.00 Szabó István renaissance lute Mikó Castle

Friday, 11th of July

13.30 – 14.00 street music Codex Ensemble (Romania) Majláth Gusztáv Károly square 14.00 Closing concert of the Early Music Summer University “Nagy István” Fine Art and Music High School 18.00 Transylvania Baroque Ensemble (Romania) Calvinistic church 20.00 Baroque Festival Ensemble, artistic conductor: Ulrike Titze (Germany), Szent Ágoston Church 22.00 Csalog Benedek (Germany), Fülöp Mária (Switzerland) and Sam Chapman (United Kingdom) Mikó Castle

Saturday, 12th of July

11.00 – 13.00 Renaissance Children’s Day Playhouse, renaissance dance, blazon painting, medieval armoure and weapon presentation, concert of Tibia Chamber Music Ensemble courtyard of Mikó Castle* 13.00 – 13.30 street music Musica Historica (Hungary) Majláth Gusztáv Károly square 17.00 Lyceum Consort (Romania) Mikó Castle 17.30 Kájoni Konsort and Carmina Renascentia (Romania)

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18.30 Passeggio Dance Ensemble (Romania) 19.45 Musica Historica and Kobzos Kiss Tamás (Hungary) Courtyard of Mikó Castle* 22.00 Tóth Mónika (Hungary), Danuta Zawada (Poland) and Chereji Szilárd (Austria) Mikó Castle

Sunday, 13th of July

 11.30 – 12.00 street music

Lyceum Consort (Romania) in front of the Franciscan Church of Şumuleu Ciuc 19.00 Balkan Barock Band, conductor: Jean-Christophe Frisch (France) 20.00 La Fenice Ensemble (France) 21.00 Renaissance Dance Hall courtyard of Mikó Castle* * in case of bad weather the building of the Municipal Theatre Csíki Játékszín Miercurea Ciuc

Renaissance daily menu in Miercurea Ciuc restaurants Renaissance Café Pages from the History of The Early Music Festival

...what belonged to us exhibition about the past digitalized press archive Auditorium of Kájoni János County Library

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Program Booklet Thursday, 10th of July, 18.00

Miercurea Ciuc, Courtyard of Mikó Castle

(in case of bad weather: Trade Union Arts Centre) Opening Ceremony: Róbert Mandel and his quests (Budapest) Renaissance court music Judit Andrejszki– voice, harpsichord, percussions; Gábor Kállay – voice, flute, rebec; Róbert Mandel – hurdy-gurdy, percussions; Szabó Zsolt – viola da gamba Program Tielman Susato: Alderhande Danserye (Antwerpen, 1551) La morisque (Basse danse no. 5) Allemande (no. 1) – Allemande (no. 5) Ballo Ongaro (Giovanni Picchi: Il primo libro d’intavolatura di balli d’arpichordo, 1592) Apor Lázár’s Dance – Ötödik tánc hatodon (Codex Kájoni, 1634– 1671) Two Hungarian dances (Stark-virginal book, 1689)

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Claude Gervaise: Allemande – Branle simple – Pavane passemaize – Gaillarde – Branle de Champagne (Pierre Attaingnant: Sixième Livre de Danceries, 1555) Bálint Bakfark: O combien est malheureux… (Bakfark’s lute intabulation after Claudin de Sermisy; Lyon, 1553) Chorea Hungarica ex C – Chorea Hungarica ex A – Chorea Hungarica ex E – Chorea Hungarica ex C (Leutschauer Book of Tabulature, 1660–1670) Klobuczky tanecz – Polonica – Hagnal – Pargamasca (Bergamasca) (Codex Vietoris, 1670s) Three Hungarian Dances (Nouvelle Collection d’Hongroises, Vienna/Bratislava, 1808) Magyar friss – Ungarisch (Bratislava Manuscript, 1820) 16th century Dignitaries dance Heiducken Dantz (Cither tablaturefrom Dresden, 1592) Hayduczky (Janz Lublina tablatura, 1540) Heidukken (August Nörmiger tablatura, 1598) Ungarischer Tantz (Wolf Heckel tablatura, 1562) Ungaresca (Jacob Paix, Ein Schön Nutz und Gebrüchlich Orgel Tabulaturbuch, 1583) Thursday, 10th of July, 19.30 Codex Ensemble

„Mit bízik ez világ ő álnokságában” Our program has been chosen from the 13-19th centuries Hungarian manuscripts’ vocal and instrumental music. The Saint George Manuscript’s Polish dances can certainly be found in other European libraries as well, the harmony and orchestration are based upon the manuscript’s violin parts. The 19th century’s Hungarian dances show various similarities with the Romanian, so called „lăutar” music, since they were

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both performed by gipsy musicians. A melting pot between the two genres of music might have been Vienna, where the talented gipsy musicians have been sent to study – both by Hungarian nobility and Romanian principalities. Bocskor János songbook’s (adapted from Codex Kájonicantionale), sorrowful songs about mortality are well balanced by the final, cheerful „Boldog ember”(Happy man)song, which in the last year was the most popular piece of music of the ensemble IGNÁC FILIP (artistic director) – recorder, flute, ÉVA SZABÓ – recorder, flute, percussion, LÁSZLÓ KOVÁCS – violin, voice, ÉVA KOVÁCS – violin, voice, CSABA ADORJÁN – violas, violone, ZSOMBOR LÁZÁR – gardon, ÁRPÁD SZÖGYÖR – voice, violone Program Polish Dances (Saint George Manuscript, 1757) Harc ember élete – Mit bízik ez világ – Ez világot Ádám hogy elveszté – Halljátok meg panaszimot (János Bocskor hymnbook, 1716–1739) 19th century Romanian and Hungarian dances Angheluş Dinicu: Ciocârlia – Corăghiasca – Hora bătrânească – Hora de la Cotoroaia Hungarian Dances (24 originelle ungarische Nationaltänze) Sârba de la Zmeu Ádám Pálóczi Horváth: Boldog ember, akinek sokra nincsen gondja (Ötödfélszáz énekek, 1813)

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Thursday, 10th of July 22.00 Mikó Castle István Szabó (Budapest) – lute Canzon francese A chanson is in general any lyric-driven French song, usually polyphonic and secular. A singer specializing in chansons is known as a “chanteur” (male) or “chanteuse” (female); a collection of chansons, especially from the late Middle Ages and Renaissance, is also known as a chansonnier. The earliest chansons were the epic poems performed to simple monophonic melodies by a professional class of jongleurs or menestrels. These usually recounted the famous deeds (geste) of past heroes, legendary and semi-historical. In its typical specialized usage, the word chanson refers to a polyphonic French song of the late Middle Ages and Renaissance. Early chansons tended to be in one of the „formes fixes”— ballade, rondeau or virelai (formerly the chanson baladée)—though some composers later set popular poetry in a variety of forms. The earliest chansons were for two, three or four voices, with first three becoming the norm, expanding to four voices by the sixteenth century. Sometimes, the singers were accompanied by instruments. In the program one can hear lute phantasies such as mentioned above, from the prestigious lute performers from Europe. In Hungarian Renaissance songs also appear French chansons, the world of branle and volte. The songs from the program are ment to evoke these relations.

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Program Marco dall’Aquila: Fantasia (1536) András Szkhárosi Horvát: The Principality (1545) Francesco da Parigi: Fantasia (1540 k.) Sebestyén Tinódi: Egervár viadaljáról való ének (1553) Bakfark Bálint: D’amour me plaint (1553) János Thordai: XXXI. psalm (1627) Benedictus de Drusina: Le content (1556) János Kanizsai Pálfi: Tavasz indul vízforrásoktúl (1615) Jean-Paul Paladin: Fantasia (1560) András Batizi: Házasságról való ének (Song about marriage) (1546) Andrea Feliciani: Fantasia [in modo canzon francese] (around 1580) Bálint Balassi: Lelkemnek hozzád való buzgó kiáltása (around 1586) Santino Garsi da Parma: Canzona [in aria francese] (around

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1590) Szegény fejem uramhoz óhajt (around 1600) Eques Romanus (?): Fantasia [in modo canzon francese] (1594) János Rimay: Légyen jó idő csak (around 1600) Simone Molinaro: Fantasia [in modo canzon francese] (1599) Bálint Balassi: To the Holy Trinity we pray (around 1588) Friday, 11th of July 11.00 Summer University - Course closing concert ˝Nagy István˝ FineArts and Music High School Friday, 11th of July 18.00 – Calvinistic Church Baroque Ensemble „Transylvania” (Cluj) French Baroque Music ZOLTÁN MAJÓ – baroque flute, MÁTYÁS BARTHA – baroque violin, CIPRIAN CÂMPEAN – baroque cello, ERICH TÜRK – harpsichord Program Joseph Bodin de Boismortier (1689–1755): Quatrième Ballet de Village en Trio, Op. 52 (1734) Rondement – Gaiment – Légèrement – Doucement – Chaconne Anne Danican Philidor (1681–1728): Sonate pour la flûte à bec (1712) Lentement – Fugue – Courante – Les notes égales et détachez – Fugue François Couperin (1668–1733): Ordre 2ème de clavecin (1717)

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Allemande La laborieuse – Première courante – La Garnier – Gavotte – Les idées heureuses François Francoeur (1698–1787): Sonate VI. en Sol mineur (Deuxième Livre de sonates à violon seul et basse continue, 1730) Lentement – Courante – Allemande – Sarabande – Rondeau – Sicilienne Jean-Marie Leclair (1697–1764): Sonate VIII. à Trois, Op. 2/8 (1728) Adagio – Allegro – Sarabanda – Allegro assai Marin Marais (1656–1728): Suite V en Trio en Mi mineur (1692) Prelude – Rondeau – Sarabande – Menuet – Passacaille Friday, 11th of July 19.30 – Szent Ágoston church Baroque Festival Ensemble Artistic conductor: ULRIKE TITZE (Dresden) Program Jean-Baptiste Lully (1632–1687): Le bourgeois gentilhomme Acte I: Ouverture – Air Acte II: Premier air des garçons tailleur – Deuxième air Acte IV: Marche pour la Ceremonie des Turcs – Chaconne des Scaramouches, Trivelins et Arlequins Johann Friedrich Fasch (1688–1758): Ouverturensuite F-Dur Ouverture – Courante – Jardinier – Air – Gavotte I–II – Menuet Jean-Féry Rebel (1666–1747): Les Élémens (1737) Le Chaos – Loure „La Terre” (Air pour les Violons) – „L’Eau” (Air pour les Flutes) – Chaconne Gay „Le Feu” – Ramage „L’Air” – Rossignolo – Loure – 1er Tambourin – 2ème Tambourin – Sicillienne. Gracieusement – Rondeau (Air pour L’Amour) – Caprice (Rondeau)Jean Philippe Rameau (1683–1764): Les Indes Galantes Chaconne

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Friday, 11th of July 22.00 – Mikó Castle

Benedek Csalog – baroque flute (Budapest), Mária Fülöp – harpsichord (Basel) és Sam Chapman – theorba (Basel) French Baroque Music Benedek Csalog has started his training on piano, recorder and later on the modern flute. At 16, he began playing the Baroque flute,and discovered a whole new world of the late baroque French music. He realised that the majority of the 18th century repertoire was written in French territories, in a world totally different from his own. He has founded the Baroque orchestra of Concerto Armonico Budapest. After earning his diploma in modern flute, Mr.Csalog continued his studies in The Hague with Barthold Kuijken, and he was awarded a diploma in Baroque flute in 1991. Since 1987 he has appeared as soloist and chamber musician alloven the world, including most of the European countries, North & South America and the Middle East. Mr. Csalog has performed as a soloist on the Holland Festival and the Innsbruck Festival of Earley Music. He has won the 1st International Baroque Flute Competition in Orlando (1995), and the Brugge Concours Musica Antiqua with Léon Berben as accompanist (1996). Currently he teaches Baroque flute at the Conservatory of Leipzig, and held clsses in Germany, Portugal, Switzerland, The Netherlans, Brazil and Hungary at the Old Music Academy of Szombathely. In his concert we can enjoy some prestigious flute pieces from the early 18th century. In the first part we can hear more traditional pieces, while in the second part of the program we can enjoy the Italian sonatas, as they were still new in those times.

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Program Prélude (improvisation) Pierre Danican Philidor (1681–1731): Fifth suite Très lentement – Allemande – Sarabande. Très tendrement – Gigue. Gayment François Couperin (1668–1733): Les Silvains (Robert de Visée lute transcription) Jacques-Martin Hotteterre (1674–1763): Third suite (Premier livre) Allemande – Sarabande – Courante/Double – Rondeau – Menuet – Gigue François Couperin: Septième Concert (Les goûts-réunis ou nouveaux concerts) Gravement et gracieusement – Allemande – Sarabande – Fuguéte – Gavote – Siciliéne --Jean-Marie Leclair (1697–1764): e- minor sonata (Deuxième livre de sonatas, No. 1, 1723) Adagio – Allegro ma poco – Sarabanda – Allegro Jacques Duphly (1715–1789): First suite (Premier livre de clavecin) Allemande – Courante – Rondeau Michel Blavet (1700–1768): Second sonata (3me livre) Andante e spicato – Allegro – Minoetto Saturday, 12th of July 10.00 Courtyard of Mikó Castle * Playhouse, Renaissance dance courses, hatchment painting, armour and weapon exhibition, TIBIA Chamber Music Orchestra concert

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Saturday, 12th of July 17.00 Mikó Castle

Lyceum Consort Ricercar – Musical crumbs from ars antiqua to early baroque Katalin Izsák – recorders; Zsófia Nagy – recorders; Ágnes Öllerer (artistic conductor) – recorders; Pavel Popescu – recorders; Anna-Mária BANICA –recorders

A ricercar is a type of late Renaissance and mostly early Baroque instrumental composition. The term means to search out, and many ricercars serve a preludial function to “search out” the key or mode of a following piece. A ricercar may explore the permutations of a given motif, and in that regard may follow the piece used as illustration. In its most common contemporary usage, it refers to an early kind of fugue, particularly one of a serious character in which the subject uses long note values. However the term has a considerably more varied historical usage.

Ricercar… “search out”. The Lyceum Consort Ensemble attempts to give a glimpse of their own understanding of the French ars antiqua and the Italian ars nova, about the pursuit of parts and the surprisingly modern harmony. In Renaissance dance tunes there’s a struggle between modality and tonality, spiritual and profane. At the end of the program there’s a blink of the bizarre Baroque as well. Ricercar… an attempt to show how these styles, forms and musical genres had blended together, with no regards to country and time borders. Program Leoninus (12th century): Haec dies (organum) Perotinus (13th century): Ex semine (conductus-motet) Molendinum de Paris (14th century) Li maus/Dieus! porquoi/Portare (motetus) – Li savours/Li grant desiers/Non veul mari (motetus) (Codex Montpellier, 14th century) Francesco Landini (1325 k.–1397): Lasso! di donna (ballata) – Giunta vaga biltà (ballata) – Chiosi pensoso (caccia)

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Giulio Segni (1498–1561): Ricercar Antonio Mortaro (?–1600): L’Albergona Francesco Patavino (around 1478 –1556): Donne, venete al ballo

Alfonso Ferrabosco II. (1572 –1628): Pavan à 5 Gioseffo Guami (around 1540–1611): La Guamina Saturday, 12th of July 17.30

Courtyard of Mikó Castle (in case of bad weather: Trade Union Arts Center) Kájoni Consort (Baraolt) „Fegyvert, s bátor szívet” (Weapon and brave heart) Transylvanian and Hungarian music from the 16-17th centuries

The 16th century saw the rise of Transylvania, a region the Turks never occupied, as a center for Hungarian music, as well as of the first Hungarian publications of music. István Gálszécsi’s songbook was the “first Hungarian gradual to the Gregorian hymn-melodies and German choral music of which we can see new Hungarian translations”. About forty melodies are known from this era, and are already in a distinctively Hungarian style which took influences from across much of Europe in several dozen distinct forms that were “mostly notated in a rigid and clumsy way” but were “undoubtedly much more colourful and flexible in living performance” and were in reality “little masterpieces of melodic structure”. The most significant musician of this period was Sebestyen Tinodi Lantos, the greatest artist and master of expression of ancient Hungarian epic poetry.

Accentuated declamation was fashionable in music education during the early 16th century. A collection by Johannes Honterus was the first Hungarian printed work with music, dating from 1548. The poet Balint Balassi remains well regarded for his poems from this period, which were based on

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Polish, Turkish, Italian and German melodies, and may have also been influenced by the villanella. Some songs from this period, influenced by the music of the nobles and their minstrels from as far away as Italy, remained a part of the Hungarian folk tradition at least until modern song collection began. Religious and secular music were closely connected at this time, and documentation of the former grew with the publication of many songbooks filled with free psalm paraphrases called „lauds”, facilitating the practice of communal singing among the nascent Protestant churches. This conflation of religious and secular song was much criticized from pulpit, from the both the Protestant and Catholic churches. Hungarian instrumental music was well known in Europe in the 16th century. The lutenist and composer Balint Bakfark, born in Brasov, was especially famous, known as a virtuoso player of the lute. His surviving works include ten fantasies, seven madrigals, eight chansons, and fourteen motets—all in amazingly faithful polyphonic arrangements for lute alone. János Kájoni was one of the most interesting individuals of the 17th century Transylvania, whose aim was to establish a European culture in Csíksomlyó. He was of a noble family — Caioni’s aunt was the wife of a garrison commander in Miercurea Ciuc. Through her connections, he was admitted in the Franciscan monastery of Csíksomlyó. A Renascentist and precursor of the Age of Enlightement in Transylvania, he is best known for his most important works: Codex Caioni, Organo Missale, Cantionale Catolicum, etc. He registered folk tunes and folk dances as well and gathered the works of his contemporary composers. In our program we have chosen to perform works from Codex Caioni, in high regard to János Kájoni.

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At Christmas of 2013 our Ensemble held the 25th jubilee concert in a familiar atmosphere, in the company of several Early Music ensembles. The successful performance gave us a go for further common concerts, so we have created a common program with Carmina Renascentia Ensemble. Members: LÁSZLÓ ANTAL (voice),CSABA EGYED (percussion, voice), ERZSÉBET FARKAS (voice), ZSOLT FANCSAL (flute, voice),ÉVA GYULAI GYÖRGY (violas, voice), LAJOS ILYÉS (flute, voice), IDA OLÁH ROMÁN (cello, voice), KAROLA RÁDULY (voice), KATALIN VERESS (percussion, voice), ÉVA GYULAI GYÖRGY (violas, voice) LAJOS ILYÉS (flute, voice),IDA OLÁH ROMÁN (cello, voice),KAROLA RÁDULY (voice),KATALIN VERESS (percussion, voice)

Program Christ resurrection (Easter song, 15th century) Johann Walter (1490–1570): Christ ist erstanden – Aus Tiefer not

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Dulcis Jesu – O quam pulchra (Pál Esterházy: Harmonia Caelestis, 1711) Giacomo Moro da Viadana (1560–1627): Alleluia. Gaudeamus omnes (Codex Kájoni, before 1687) Jacob Arcadelt (1505–1568): Il bianco e dolce cigno (Il primo libro di madrigali d’Arcadelt a quatro, 1539) Adrian Willaert (around 1480–1562): A quand’ a quand’ haveva – O bene mio famm’uno favore (Canzone Villanesche alla Napolitana, 1545) Bálint Bakfark (1506?–1576): Gagliarda Non dite mai (Lemberg manuscript, 1555–1560) Sibenbürger Tanz (Nikolaus Schmall lute tablatura, 1608– 1613) Adrian Willaert: Madonn’io non lo so perche lo fai – Madonna mia fa (Canzone Villanesche alla Napolitana, 1545) K ájoni Consort and Carmina R enascentia’s common concert Ferenc Pápai Páriz: Fegyvert, s bátor szívet (Weapon and brave heart) – propaganda song for Zrínyi; melody: Cur mundus militat, Cantus Catholici, 1651 Rectius vives Lycini (Horatius) – Holy Lord (János Rimay) Vitam que faciunt (Martialis) – Mindannyian örüljünk – Rejoice (Gál Huszár) Da puer plectrum choreis (Prudentius) (Johannes Honterus: Odae cum Harmoniis, 1548) János Bakfark (16th century): Schöner deutscher Dantz (Philipp Hainhofer: Lautenbuecher, 1603) Saturday, 12th of July 18.00

Carmina Renascentia (Carei) Popular 16th century French music instrumental and voice variations

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ILDIKÓ KERESZTESI - sopran, harp, recorder, crumhorn, TÜNDE LÖRINCZ - alto, percussion, JÓNUCZ ALFONZ - tenor, recorder, kornamus, crumhorn, SZILVESZTER LÖRINCZ bass, viola da gamba, recorder, JÀNOS VEZÈR recorder, crumhorn Program Michael Praetorius (1571–1621): Bransle-ok (Terpsichore Musarum…, 1612) Pierre Certon (1510 k.–1572): La, la, la, je ne l’ose dire – Contentez vous Pierre Attaingnant (1494–1552): Pavane Pierre Certon: J’ai le rebours Unknown author / Josquin des Près (1450–1521): Two instrumental pieces (Targu Mures Manuscripts, early 16th century)

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Pierre Sandrin (1490–1561): Doulce Memoire (Carminum ad testini usum compositorum Pierre Teghi) Claude Goudimel (1510–1572): Bonjour mon coeur Tielmann Susato (1490–1561): Rondeau (Danserye, 1551) Clément Janequin (1485–1558): Il estoit une fillette (Carminum ad testudini usum compositorum Pierre Teghi) Saturday, 12th of July 18.30 Passeggio Historical Dance Ensemble William Shakespeare: The Merry Wives of Windsor Renaissance dances with application of original choreographies The Passeggio Historical Dance Ensemble from ClujNapoca (Romania) is making a remarkable effort to rediscover the dance, the costumes, the social behaviour and the ways of spending leisure time from the European region, during the 12–19th centuries. The performances designed by the choreographer Csilla Juhász are very diverse, so the public is surprised every time. The distinct element of their performances is the attempt to give a storyline for the entire presentation, to interpret small sketches using dance steps. Some of the members have had the opportunity to attend master courses with choreographers such as Gábor Kovács (Budapest, Hungary), Françoise Denieau (within the course of the Academy of Sablé held at Bucharest) or to participate in projects of dancer and choreographer Mary Collins from the Royal College of Music, London. The costumes sown by Passeggio are attentively documented. The costumes used in this performance are impressive by their diversity, the dance is surprisingly inventive and the selected music parts can become a lesson on music history.

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Directed by: Elemér Kádár Choreographer: CSILLA JUHÁSZ Dancers: Emese Borbély, Ana – Maria JUHÁSZ, Csilla JUHÁSZ, ENIKŐ KIS, Edit László, NOÉMI SZALONTAI, HUBA SZÁSZ Musicians: Bence Haáz – recorder; Anna Dénes– violin; István Csata – viola da gamba; Csongor Dénes– percussions Program Cuckolds All In A Row (John Playford, The English Dancing Master, 1651) Ballo del fiore (Fabritio Caroso, Il Ballarino, 1581) Gracca amorosa (Fabritio Caroso, Il Ballarino, 1581) La volta (Thoinot Arbeau, Orchésographie, 1588) Bella gioiosa (Fabritio Caroso, Il Ballarino, 1581) Old Alman, Queen’s Alman (Inns of Court, London, 1570–1675) Les bouffons (Thoinot Arbeau, Orchésographie, 1588) Pavaniglia (Fabritio Caroso, Il Ballarino, 1581) Il canario (Fabritio Caroso, Il Ballarino, 1581) Confesse (John Playford, The English Dancing Master, 1651)

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Saturday, 12th of July 19.45 Courtyard of Mikรณ Castle (in case of bad weather: Trade Union Arts Center) The Dwelling Place of the Mouses Music in Transylvanian Principality in the 17 th century During the 17th century, Hungary was divided into three parts, one the region of Transylvania, one controlled by the Turks, and another by the Habsburg. Historic songs declined in popularity, were replaced by lyrical poetry. Minstrels were replaced by courtly musicians, who played the trumpet and whistle, cimbalom, violin or bagpipes; many courts and households had large groups of instrumentals.Some of these musicians were German, Polish, French or Italian, and even included a Spanish guitarist at the court of Gabor Bethlen. Little is known about the actual music of this time, however. Instrumental music from the 17th century is known from the collections of various Upper Hungarian and Transylvanian collectors, such as Janos Kajoni.

At the same time, rhythm became more complicated and notation more general. The Lล‘cse manuscript also notably presents an arrangement of dances, the first example of the Hungarian cyclic form; this music and dance had similarities both to the Polish music of the time as well as the subsequent development of the verbunkos style. 17th century Hungarian church music was revolutionized after 1651 with the publication of the Cantus Catholici, in which genuine Hungarian motives played a major part. By 1674, the Hungarian Mass was also part of the Cantus Catholici, followed by the adoption of Calvinist psalm tunes in 1693 and Hungarian choral music in 1695. Jรกnos Kรกjoni Organo Missale of 1667 was the first experiment

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in the creation of a new kind of Hungarian church music, a style that strung together short motives that were shortened, extended or syncopated in a complex rhythmic structure. Italian religious music played an important role in this development, which was documented in an “unparalleled example of ancient Hungarian music.

At the beginingthe start of the 18th century, however, the last national uprising of the period occurred, leading the spread of “Kuruc songs”. These songs were authentically Hungarian and hold a “central position between the style of the ancient and the new folk music”. Their influences include elements of Polish, Romanian, Slovak and Ukrainian music in addition to Hungarian melodies. The concert’s title recalls old times’ songs from the 17th century’s Transylvania. The program depicts the Transylvanian society of the time. It was first presented in 1997-1998, with the cooperation of Collegium, Minimum and Amaryllis dance Ensembles. The instrumental music was seen as a form of social communication, since it expressed their identities: giving arguments on different topics. From this point of view, the „dance trends” which conquered the most traditional families also – as it is shown by Peter Apor - keep the memories of social demands. After a protestant song from Bocskai István’s period and a funeral song of the prince the period of Bethlen Gábor is revoked. In the memory of our beloved friend, Endre Deák, we have assembled a series from M. Praetorius’s famous West-European dance collection. These types of dances had been mentioned by the Spanish dance master Don Diego d’Estrada, who claims to have taught them to Transylvanian nobilities. From the Turkish music – very fashionable in Transylvania due to political reasons – a military music can be heard in the reconstruction by Balázs Sudár. The following decades lighten the end of the Golden Era. After the fall of II. Rákóczi György in Poland (1657), numerous Transylvanian princes fell in captivity, including János Kemény, the

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upcoming prince. Szidónia Petrőczy Kata, Transylvanian noblewoman’s life of vicissitudes is accompanied by sorrowful but hopeful verses,and her own song is resound. The other side of society can be seen as humorous and fun, during royal and noble weddings, carnival times. The two gipsy songs from Codex Caioni were probably present in a school-play. A soldier returning to Transylvania tells his whole story, and the dance types of a wedding are recorded in Hallod-e, pendítsd az lantot. These are followed by a dawn song which represents the end of girlhood, the beginning of womenhood. The Rabbit’s Song (A nyúl éneke) was extremly popular by the end of the 19th century, which talks not only about the rabbits chased by huntsmen but also about the ordinary people being harassed by the princes and priests. The contemporary Transylvanian music was played on other territories as well. The Transylvanian prince’s (I. Mihály Apafi) dance was recorded in Sopron; the Olah-dance, later known as Rákóczi-nóta appears in Upper Hungary; Silezian musician G. D. Speer had probably learnt in Upper Hungary and Transylvania those Hungarian dance tunes, which he later edited in 1688. TAMÁS KOBZOS KISS – voice, kobsa, hurdy-gurdy, fiddle MUSICA HISTORICA Rumen István Csörsz – voice, kobsa, fiddle, guiterne, dulcimer, hurdy-gurdy, bagpipe, shawm Zoltán Farkas – fiddle, rebec Roland Kasza – percussions Attila Kovács – voice, kobsa, psaltery, recorder Réka Palócz – soprano, harp, cornamusa Zoltán Széplaki – voice, recorders, traverse flute, gemshorn, shawm

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Zsófia Tövisházi – fiddles Program 46th psalm (Jövel, légy velünk, Úristen) (early 17th century) Az idvezült fölséges Bocskai Estvánnak, Magyar- és Erdélyország fejedelmének szomorú haláláról (around 1607) Siebenbürgische Tänze (Nikolaus Schmall lanttabulatúrája, 1608–1613) Brandenburg Katalin’s song (Bűneimnek nagy mélységéből) (Thaly-kolligátum,turn of the 18-19th centuries) Michael Praetorius (1571–1621): Bransle de la Royne I–II. – Canarie – Volte (Terpsichore Musarum…, 1612) Bethlen Gábor epitáfiuma (1629) Behrám Nefíri: Peşrev hüseyni makámban (Ali Ufki: Mecmuã-i saz ü söz, 1651) Transylvanians song in Tartar durance (1657) Pártolkodó Erdélyország (excerpts, 1660–1661) Petrőczy Kata Szidónia (1662–1708): Bágyadt szívem, csendesedjél Fenékkel felfordult már ez széles világ (Szentsei György songbook, before 1704) Dade Zingaricum (Codex Caioni, before 1687) Oláh dance – Ja sem osamela (Codex Vietoris, before 1670) Nosza, hajdú, firge varjú (Szentsei György songbook, before 1704) Ungerischer Tanz des Fürsten aus Siebenbürgen (Stark-book, 1689) Pohlnisch Ballet I. (Georg Daniel Speer: MusicalischTürckischer Eulen-Spiegel, 1688) Hallod-e, pendítsd az lantot (Vásárhelyi-songbook, 1670’s) Kelj fel, ki valál te szép lány (Codex Fanchali Jób, after 1608) Hungarisch Ballet I–III. (Georg Daniel Speer: MusicalischTürckischer Eulen-Spiegel, 1688) The Rabbit’s Song (Codex Kájoni, before 1687) Saturday, 12th of July, 22.00

Mikó Castle

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Divertimento According to the legend, the history of the Vienesse coffe houses begins with the liberation of the town in 1683. The history of Viennese coffee house culture is closely linked to the end of the Siege of Vienna in 1683. Legend has it that the Viennese citizen Georg Franz Kolschitzky (1640 - 1694) was the first to obtain a licence to serve coffee in the city following his heroic actions during the Siege of Vienna. The coffee beans left behind by the Turks were the basis of his success. The first coffee house in Vienna was actually opened by the Armenian spy Diodato. He served at the Viennese Imperial court and was a man full of secrets. He knew about the dark beans and the art of preparing coffee from his home country. The Johannes- Diodato-Park in Wieden, Vienna’s 4th district, is dedicated to him. The first coffee houses already had several of the characteristics that are still typical of a Viennese-style coffee house today. Waiters served a glass of water with every cup of coffee and they were equipped with card games and pool tables. After the Congress of Vienna in 1814/15, the coffee house culture in the city flourished again. During the Biedermeier period, the Viennese coffee house became the epitome of a good quality of life in all of Europe. Viennese-style coffee houses opened in Prague, Zagreb, Verona, Trieste, and Venice. Large rooms, red-velvet seats, and magnificent chandeliers were the typical features that were essential for any prestigious coffee house. In general, the Viennese, who mostly lived in tiny, crowded flats, regarded the elegant coffee houses as their “extended living rooms” or second homes where they could meet friends and other people. After World War One, the first dance cafés opened and played popular American jazz music. During

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the world economic crisis in the 1930s, coffee houses were increasingly used as trading places where much sought-after goods were exchanged under the tables. In time, so called music coffee houses have taken shapes, thus the musical performances have become a major part of the cultural life of the Vienesse coffee houses. These coffee houses were lined in „Prater” the czar’s hunting-grounds, opened to the public in 1776. During this time Vienna was Europe’s most significant musical centre. It was an important period for the vienesse doublebass players as well. These pieces were composed for the so called „vienesse tuning” (F1, A1, D, Fisz, A), which was especially widespread on German territories. The „divertimento” – the masterpiece of classical music- was used by Haydn, Mozart and other Austrian composers. It has obviously no specific form, although the majority of „divertimentos” have its origin in the 18th century dances or follows other contemporary chamber music forms. Today the three musicians are performing divertimentos in spirit of the Vienesse coffee houses. Mónika Tóth (Budapest) – violin; Danuta Zawada (Gdańsk) – violin, violas; Szilárd Chereji (Linz) – violone

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Program Georg Christoph Wagenseil (1715–1777): Trio capricioso a 2 violini e basso [in g] Largo – Fuga, Allegro moderato – Andante – Presto Karl Kohaut (1726–1784): Partitta a 2 violini con basso [in g] Allegro assai – Andante molto – Menuet, Trio – Allegro molto Georg Christoph Wagenseil: Trio [in D] pour un violon, viola e basso Allegro – Larghetto – Menuet, Trio Johann Baptist Vanhal (1739–1813): Cassatio ex D a violino, viola e contra basso concertino* Allegro moderato – Menuetto, Trio – Adagio – Menuetto, Trio – Thema con Variationi, Moderato Johann Christoph Mann (1726–1782): Divertimento à 3 [in D] Andante molto, Cantabile – Allegro – Menuet, Trio – Finale, Allegro molto Sunday, 13th of July 19.00

Balkan Baroque Band

Jean-Christophe Frisch (artistic director) – baroque flute; Cyrille Gerstenhaber – voice; Mircea Ionescu – violin; Kovács László – violin; Adorján Csaba – violas; Lázár Zsombor – cello; Szögyör Árpád – doublebass; Erich Türk – harpsichord Program Michel Lambert (1610–1696): Airs de cour (1689) Ombre de mon amant – Vos mépris chaque jour Jean-Baptiste Lully (1632–1687): Armide, suite d’airs et de pièces (1686) Ouverture – Gavotte – Menuet – Un songe affreux – Marche –

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Saraband – Canarie – Enfin il est en ma puissance – Passacaille Pierre-Gabriel Buffardin (1690–1768): Concerto pour flûte Allegro – Andante – Allegro Jean-Philippe Rameau (1683–1764): Les Indes Galantes, suites d’airs et de pièces Ouverture – Musette – Tambourins – Prélude pour l’adoration du Soleil – Danse des Sauvages – Chaconne Sunday, 13th of July 20.00

La Fenice Ensemble (Paris) Ensemble la Fenice is a five-man Baroque wind band based in the Burgundian village of Sens in South of France, led by expert Baroque wind player Jean Tubery. Ensemble la Fenice was founded in 1990 to explore Tubery’s interest in the seventeenth century Venetian wind music, taking its name from the title of a composition by Italian Baroque composer Giovanni Martino Cesare. From the beginning, Ensemble la Fenice began to collect accolades, competition awards, and support from arts institutions in Europe. Perhaps not surprisingly, the music of the Gabrieli family ranks very high on the group’s list of specialties, but it is also just as well known for working with Monteverdi, Marc-Antoine Charpentier, and taking part in annual performances of Heinrich Schutz’s Christmas Oratorio. Ensemble la Fenice often partners with choral groups such as Choeur de Chambre de Namur, etc. Ensemble de Fenice has recorded most often for Ricercar, including a valuable series entitled The Heritage of Monteverdi. However, the group’s playing is also heard on discs issued by L’empreiente digitale, Virgin Veritas, Naïve, Opus 111, Cyprès, and other European labels. La Fenice Ensemble presents: 

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Cassandra’s Amours Music and poetry from Pierre de Ronsard’s time. Pierre Ronsard published his literary achievement, the Amours, in 1553 in Paris and dedicated it to Charles IX of France. This love sonnet sequence dedicated to Cassandre displays Ronsard’s unique talent and hedonist inspiration. The proloque presents the Renaissance author as the “prince of poets and poet of princes” and expresses the poet’s love of music. At the beginning of the 17 th century, one of his biography writers, Claude Binet, wrote: “Music was a true passion for him, he loved to sing, to croon his verses, he called music the younger sister of poetry and the poets and musicians the holy children of muses.” (1609) The Le Fenice Ensemble’s old desire is the musical interpretation of Ronsard’s emotional verses. Meanwhile the ensemble provides a look at its own cultural heritage: the original ode collection from 1533, guarded in Auxerre’s library, is revived through the works of Clément Janequin, Claude Goudimel and Roland de Lassus.  During the program poetry and music are alternating, contemporary instrumental phantasies and variations can be heard: among Diego Ortiz, Albert de Rippe and Pierre Attaingant’s masterpieces. Jean Tubéry – cornett, recorder; Simen van Mechelen – trombone, recorder; Marc Wolff – lute, renaissance guitar; Nicolas Achten – harpsichord, guitar; Caroline Pelon – voice; Jean-Claude Saragosse – voice Program Unknown author: Premier ballet & „Ballet du Roy pour sonner après” Roland de Lassus (1532–1594): Bonjour mon coeur Peter Philips (1560–1628): Bonjour mon coeur Jacques Mauduit (1557–1627): Voici le vert et beau Mai

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Unknown author: Courant’ de la Royne Claude Goudimel (1514–1572): Mignonne allons voir si la rose Michael Praetorius (1571–1621): La Rosette (Terpsichore Musarum…, 1612) Pierre Certon (1510–1572): Fauche, garçon Michael Praetorius: Bransles de village (Terpsichore Musarum…, 1612) Jacob Paix (1556–1623): Bransle & volte Thomas Crequillon (1505–1557): Un gay bergier Giovanni Bassano (1558–1617): Un gay bergier (passeggiato) Thomas Crequillon: Alix avoit aux dents la malerage Girolamo Dalla Casa (?–1601): Alix avoit (diminuito) Clément Janequin (1485–1885): Petite nymphe folâtre Adrien Leroy (1520–1598): Passamèze pour le luth Roland de Lassus: La nuit froide et sombre Claudin de Sermisy (1495–1562): Jouissance vous donneray mon ami Albert De Rippe (1500 - 1551): Romanesca Unknown author: Gaillarde „Si pour t’aimer” Pierre Sandrin (around 1490–1561): Doulce mémoire Diego Ortiz (around 1510 –1570 ): Doulce mémoire (glosada) – Recercada secunda sobre passamezzo Claudin de Sermisy: Tant que vivray en âge florissant

Performers:

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István Csata obtained his doublebass degree at “Gheorghe Dima” Music Academy in Cluj Napoca. Currently he is a member of Transylvania State Philharmonic Orchestra. His first encounters with early music and with viola da gamba were as an autodidact. Later he studied under the direction of László Ilse Herbert. Soon after he attended Master courses in Switzerland, studying viola da gamba with Guido Balestracci and basso continuo with Pierre-Alain- Clerc. He participated on several master’s courses with chamber music and solo repertoire under the guidance of Bruno Cocset, Hervé Douchy, Mira Glodeanu, Jan De Winne and Françoise Lengellé. He collaborated with early music ensembles from inland and abroad, like Ausonia (Brussels), Il Gardellino (Brugge), Chanterelle (Cluj Napoca). He is a charter member of Fonte fi Gioia baroque music ensemble. He fulfills the invitations to national and international concerts as wel. Sam Chapman grew up in south-west England. He studied early plucked instruments with Elizabeth Kenny at the Royal Academy of Music, London, where he won the Julian Bream Prize and the Robert Spenser Award. With the help of an award from the Leverhulme Trust he continued his studies with Hopkinson Smith (lute) and Jesper Christensen (basso continuo) at the Schola Cantorum Basiliensis (Switzerland) where he has been a repetiteur for lute since 2008. He is also a fully-qualified Alexander-Technique teacher. He performed on many early music festivals across Europe and can be heard on numerous CD recordings. In 2008 he founded his own ensemble “The Queen’s Revels“, to research and perform English music from the Renaissance period. Szilárd Chereji  is a descendant of a Transylvanian musician family. He has begun his musical „career” at the tender age of five. He continued his studies at the universities of Brasov, Graz and Trossingen, where he played the doublebass, violon and viola da gamba. He obtained his master’s degree in

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Renaissance music under the guidance of Kees Boeke. He performed on several international festivals and concerts as soloist and member of ensembles, such as L’Arpeggiata, Armonico Tributo Austria, Capella Cracoviensis, Cristofori, Ensemble Kapsberger, Il Gardellino, Les Nouveaux Caractères, Musica Historica, Norsk Barokkorkester, L’Orfeo Barockorchester, Private Musicke, Santenay. He made several recordings with Alpha, Accent, Pan Classics, Gramola and Olive Music labels. Rumen István Csörsz was born in 1974 in Budapest. Csörsz has studied cello, kobsa and bagpipes at the Folk Music School in Óbuda with György Lányi and Tamás Kobzos Kiss (1985-1992). He also and took several Renaissance master classes taught by László Czidra in Keszthely. He learned to play many other historical instruments in private. His academic studies began at the ELTE Secondary School Radnóti Miklós (Practising school of the Eötvös Loránd University) where he focused on History and Literature. He graduated in 1997. In 2000-2001 he was a recorder teacher at the Weiner Leó Music School in Budapest. Since them he succeded to receive a fellowship for young scientists at the Institute of Literary Studies of Hungarian Academy of Sciences in the department of 18th century literature. Csörsz is currently researching ancient Hungarian sung poetry, the variations and traditions of the autograph, and metric and melodic systems of printed popular poetry from the 18-19th century, and its musical and literary relationship with the Middle-European folk. He took his PhD in 2004. He is the author of several books and articles and since 1997 he has been the chairman of the Musica Historica Cultural Association. Apart from Musica Historica, Csörsz has worked with several musical groups (Csobán, Zabula, Carmina Danubiana), other soloists, (Tamás Kobzos Kiss, Katalin Juhász, Claude Flagel, Tamás Csányi), and has given solo recitals as well. He also wrote theatre music, for example, to the medieval marionette-

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play Story of Snow White and to the interpretation of The Prince and the Pauper (Dir. László Rumi, 2001, 2004). Jean-Christophe Frisch - Sincerealizing the XVIII-21 Le Baroque Nomade, Jean-Christophe Frisch has travelled the world, devoting himself to exchanges and encounters of European Baroque music with various forms of traditional music. This conductor’s powerful musical adventure is also a human adventure with the musicians, which is transmitted to the audience through emotion and the humanism that underpins musical performance.

His rigour and precision is based upon to his studies of biology. An outstanding flautist from the beginnings of his career, his complete recording of Vivaldi’s flute sonatas (for Universal) remains a reference. His innovative vision of Baroque music persuaded him to create XVIII-21, with the aim of implementing his musical ideas. From then on, JCF has devoted himself to conducting and opened a new way in the rereading of the Baroque repertoire, discovered some forty years ago. His interpretations are noteworthy for the sense of contrast in tempos, the balance between the low and high registers in orchestration, and the expressive inventiveness of phrasings. Guided by a constant questioning of experiments, his research is based on the incredible advances of the most recent musicological discoveries, the authenticity and sincerity of his musicians, and his personal relationship with the orchestra, based on confidence, serenity and otherness. Jean-Christophe Frisch has conducted in 34 countries, in prestigious venues such as the Cité de la Musique in Paris, the Cologne Philharmonie, the Bergen (Norway) Festival, and the Southbank Centre Festival in London, the festivals of Jerusalem, Utrecht and Granada, the operas of Rome, Damascus and La Fenice in Venice. He made more than twenty recordings, unanimously appraised by the international press: ‘One of the best CDs

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of the year 2003’ (Sunday Times), ‘One of the year’s most extraordinary releases’ (Gramophone), ‘Fascinating recordings’ (Early Music Review). The concerts and shows directed by this conductor, nicknamed as ‘the Indiana Jones of Baroque music’ by his musicians, and have been described in numerous articles as being absolutely exceptional performances: ‘A cultural revelation. The resulting sound is gripping. Past master in this subtle to-and-fro between the Same and the Other’ (Télérama), ‘XVIII-21 plays on contrasts as on relationships with a skill that succeeds in respecting the poet’s share. [...] novelty of the approach, the quality of the interpretation and the musicological rigour of the chosen options...’ (Le Monde), ‘Essential’ (classicnews.com), ‘Admirable spirit of imagination’ (Early Music Review). His energy and charisma transport the listener into a poetic, sensitive world. Mária F ülöp was born in Saint George. She began her musical studies at the age of nine at the School of Arts in her town. She began her college educations at the „Gheorghe Dima” Music Academy in Cluj, with the speciality of musical pedagogy where she continued her studies of piano. In the same time she manifested her interest in early music by studying harpsichord with the guidance of professors Katalin Botár and Dr. Erich Türk. In 2004 she obtained a scolarship with in the framwork of „Erasmus” at the Faculty of Music of Trossingen (Germany) Here she continued her harpsichord studies under the guidance of the professors Franz Dieter Weitz and Marieke Spaans. In 2008 she applied for admission to the Academy of Early Music Schola Cantorum of Basel (Switzerland) where she earned her master’s degree in harpsichord under the guidance of professor Jörg-Andreas Bötticher. At present, she is attending a new course of master’s degree

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in Leipzig and she is having as professor the reputed harpsichord and basso continuo Nicholas Parle, and she teaches at the same institute. She continues her professional activities as a music teacher and as an organist in Basel. During the years of studying she attended several courses in Hungary, Romania, Austria and Germany with the guidance of famous professors such as Jesper Christensen, Jacques Ogg, Nicholas Parle, Marieke Spaans, Bob van Asperen, Spányi Miklós and Franz Dieter Weitz. As a solist she participated at many musical festivals and she collaborated with ensembles of chamber music of Switzerland, Hungary, Austria, Germany and Romania. Cyrille Gerstenhaber After her studies in music and literature, her flexible voice and her familiarity with various styles enable her to tackle a wide repertoire ranging from the medieval period to nowadays. From Monteverdi’s Orfeo to Milhaud’s, she sings Rameau, Haendel, Scarlatti, Mozart, Puccini, Prokofiev, new music and premieres, church music (Bach, Mozart, Pergolese, Vivaldi). A regular guest of the Bibliothèque Nationale de France and Radio France, she has made the recital of light “mélodie française “repertoire (Kosma, Poulenc), being of her specialities. She is often praised by critics: “this young singer is exceptional (…) close to the sublime “ (Le Monde) — “under the spell of her crystal tones and flawless musicianship “ (Le Figaro) ­­— “superbly expressive, vocally daring, an incomparable performer, enthralling “ (Diapason). She has appeared in France, on major European stages (Amsterdam, Varsovie, Bergen, Bilbao, Berlin, Istambul, for the Fenice), and in America. A frequent interpreter of the Baroque repertoire, she has worked under the batons of Frans Bruggen, Jean-Claude Malgoire, Jean-Christophe Frisch, Alan Curtis, Antonio Florio, and Martin Gester.

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Amongst over twenty CD’s and international awards, Even in slumber, cantatas for solo soprano by D. Scarlatti (best Baroque recording of 2000 in Spain) and Couperin’s Leçons de Ténèbres (one of the Sunday Times’ “Records of the year” in 2003) can be mentioned. Tamás Kobzos K iss was born in 1950 in Debrecen, Hungary, in a Transylvanian family on his mother’s side. His father Tamas Kiss was a poet and a writer. After a few years of studying the piano, he continued his studies privatly. After that he started playing the guitar, lute, and folk instruments (lute, hurdy-gurdy), first of all to accompany his songs. From the early 1970’s, he has been equally interested in authentic folk music and old Hungarian bard-songs. He ecame a member of the „Delibab” ensemble in Debrecen, then after 1974 he played in different ensembles (Kalaka, Bakfark Balint Trio, Kecskes) for a short period of time. He made the recording „Reneszansz zene Erdelyben” (Renaissance Music in Transylvania) with the ensemble of L.Kecskes Andras in 1979. As a solist he had several concerts in European countries, but he has also sung in Japan and USA. He collaborates with the Janosi and Clemencic Consort ensembles, as well as with musicians Gyorgy Szabados, Michael Montanaro and Erdal Şalikoglu. This year sees the 18th participation of Tamas Kiss Kobzos at the Early Music Festival in Miercurea Ciuc. He is the principal of the Folk Music School in Obuda. In 2009 the local government of Buda awarded him the „Óbuda Kultúrájáért Prize”; in 2010 he received the Szenci Molnár Albert award and in 2011 the Liszt Ferenc Award. Tamas Kiss Kobzos is a regular performer at the Early Music Festival in Miercurea Ciuc. István Kónya, born in Nagykanizsa, Hungary, obtained his first diploma in History and Music in 1985, while broadening his training with studies in classical guitar. In 1989 he joined

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the lute studio of Toyohiko Satoh at the Royal Conservatory of The Hague. There he gained his lute diploma in 1994, being the first Hungarian lutist to achieve such a distinction. In addition to renaissance and baroque lutes, he plays the archlute and the chitarrone. Obtaining his chamber music degree in 1996 at the Royal Conservatory of The Hague, he attended master classes with Nigel North and Steven Stubbs. Since 1993 he has been a lute teacher at many early-music courses in Hungary;  like Savaria Early Music Week (1993),  Musica Antiqua Apud Danubium/Szentendre (1994-1996), Early Music Course/Bükk (2002-2004), Early Music Course for Singers & Luteplayers/Székesfehárvár since 2007; he was also a teacher and artistic director of the “Early Music Summer Academy” in Szombathely (1996-1998), of the „Savaria Early Music Cource” since 2005, of the  International Lute & Guitar Festival in Győr/Hungary since 2006. Kónya performed in all the Hungarian Early Music Festivals: Early Music Week Sopron, Budapest Baroque Festival, EastEuropean Early Music Festival, Dutch-Hungarian Baroque Music Festival, Early Music Forum Budapest, British Early Music Festival (Budapest), Artistic Days of Zemplén, Savaria Carnival and Gödöllő Baroque Days. He is a frequent guest at the Spring, Summer and Autumn Festivals of the Provinces. He gave recitals in most of the major Hungarian cities and in prominent castles (Gödöllő Royal Palace, Fertőd Esterhazy Castle, and Buda Royal Castle). Besides his recital engagements in Hungary, Mr. Kónya has appeared an many prestigous festivals abroad with leading ensembles. In 2000 Mr. Kónya has launched several solo series in Budapest introducing the solo and chamber repertoire of the lute. Since Summer 2002 he has had a monthly concert series in the Buda Royal Castle, performing the unknown pearls of the Hungarian, Italian, English, French, German, Austrian, and Eastern-European renaissance and baroque music. In 2002 he participated in two international tourist

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exhibitions introducing Hungarian renaissance music in Norway and Switzerland. He made his recital debuts in the United States with Timothy Bentch (tenor) in 2003 with great success. In 2004 with his Hungarian renaissance chamber program he visited several cities in abroad (Berlin, Stuttgart, Prague, Tallin, Sophia).  In 2004 he took part in the Estonian Early Music Festival (Tallin) with two solo recitals, in 2006 with a chamber program at Tarnow Festival (Poland) and at the International Organ Festival in Pula (Croatia). He made numerous radio and television records, released several CDs, and also released two solo albums, “Lute Music from Three Centuries” (2000) and “S.L.Weiss: Lute Suites” (2002). Róbert M andel – old instruments researcher, hurdy-gurdy artist, the inventor of electrophone instrument - was born on 4th of May, 1957. His grandfather was an instrument maker, from who he had inherited his interest about music and special instruments. His father, Tamás Mandel was an Ybl awarded architect. Robert Mandel became an instrument maker trainee, he took part in the restauration of Bach’s harpsichord and travelled all through Europe. Seeing no chance to continue his work in Hungary, he turned towards music. After earning his degree in musical instrument making, he received a scholarship from the German Music Council to study musical instrument restoration. Mr.Mandel had the chance to spend a time in the famous musical instrument collection of the Paris Conservatory of Music to study the original 18th century vielles. In 1988 he became the chief manager of Interkoncert’s „Musica Antiqua” department. In 1992 he founded his own company. His main fields of research are the 18th century His instrument, the hurdy-gurdy has arrived in Hungary at the end of the 19th century with the contribution of Vienese musicians. His ensemble, the Mandel Quarte, has been a great success all over the world. Thay managed to catch the audience’s interest in this rushing world.

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Réka Palócz, the soprano soloist of the Ensemble Musica Historica is an experienced choir-singer. She has performed several solo parts with the Bartók Béla Choir of the Eötvös Loránd University of Budapest, touring with them for years. As the sound building teacher of the choir and leader of music camps she has proved her excellent pedagogic sense. After her final examinations in the ELTE Secondary School Radnóti Miklós (Practicing school of the Eötvös Loránd University), she became a student of mathematics and descriptive geometry at the same university. She graduated in 1996 and was admitted to the Secondary School of Music Bartók Béla in Budapest. Shealso studied singing with Zsuzsa Németh and went on to study at the Music Faculty of the Széchenyi István University in Győr with Judith Németh. She was a regular participant of the master classes of Júlia Hamari, Anna Reynolds and Ilona Adorján. She graduated in 2001 and has been a member of the Ensemble Musica Historica since 1994. Szabó István was born on 24th of August, 1953 in Papa (Hungary). He has studied piano and clarinet. He graduated from Türr István College in Papa, with mathematics-physics profile. In 1976 he obtained a mathematics-phisics teacher degree at Eötvös Loránd University. During his student years he was a member of Bartók Béla Choir at ELTE, under Baross Gábor. They performed at national and international festivals and made an appearance at the BBC radio as well. Since 1976 he has been a teacher at Kossuth Lajos Műszaki Technologycal School and in 2000 was awarded with „Arany Katedra Emlékplakett” by the Ministry of Education. During his years at the university he began searching and studying wind instruments and the early Hungarian poetry and music. In 1975 he was a founder member of Bakfark Bálint Lute Trio, with L. Kecskés András. Since then he has been regularly performing at concerts.He also participated at several radio and TV recordings with local and international ensembles and soloists (Ars Renata, Zádori Mária, Simon

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Carrington, Clemencic Consort, Niederösterreichische Spielleute). From the 1980’s he performs in several Baroque music recordings as a luteist, theorba player and cisterist at Capella Savaria ensemble, under the guidance of Németh Pál, with the command of Nicholas McGegan. In 1990 he founds his own ensemble, Vagantes Trio, together with Péter Kálmán and István Tóth. He has been the artistic director of the ensemble ever since. The trio’s aim is to present the Hungarian music poetry between the 16-19th centuries. Instruments: Reneisance lute, Italian baroque lute, German baroque lute, theorba, baroque guitar, biedermeier guitar, mandolin, kobse, saz baglama. In 1999 he received the Tinódi-lute award. Zoltán Széplaki was born in 1972. He started his musical studies at the Dohnányi Ernő Music School in Budapest, playing the piano, the flute, and the recorder. After graduating from the Szent László Secondary School, he studied chemistry at the Eötvös Loránd University in Budapest. He earned his musical diploma (recorder) in 1999 at the Early Music Faculty of the Conservatory in Szeged as one of the student of László Lőrincz. He participated in several International Baroque recorder master classes with Anneke Boeke and Peter Holtslag. In 1997-98 he taught at the Weiner Leó Music School in Budapest. In 1998 he went on to work at the Bartók Béla Music Institute and Secondary School in Miskolc (eastern part of Hungary) as recorder teacher. For the last several years he has been a guest professor at the universities in Debrecen and Nyíregyháza. He is a regular jury member and expert at the National Recorder Competition and similar festivals and teacher-training master classes as well.. Since 1995 he is a member, and later leader of the Massaino Consort, as well as founding member of the Early Music Ensemble Miskolc. He’s been a meber of Musica Historica Ensemble since 1990. He also performs as soloist or member of other groups at home and abroad. Beside music, he is a member of the selected Hungarian archers’ team and a national record-holder, winning the Hungarian

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championship in 1992. Guido Titze was born in Cottbus, Germany, where he received his first musical training. He studied at the Dresden College of Music with Andreas Lorenz (oboe) and Siegfried Kurz (composition). In 1982 he was appointed Principal Oboe of the Staatskapelle Weimar and took up the same position in the Dresden Philharmonic Orchestra in 1985. He has been playing the baroque oboe since 1989 and is a founding member of the Dresden Baroque Orchestra. Guido Titze is in great demand as a soloist on both modern and baroque oboe. He has made numerous recordings with the Dresden Baroque Orchestra, the Academy of Ancient Music Berlin, the Weimar Baroque Ensemble, Virtuosi Saxoniae and the Dresden Wind Quintett, among others. Guido Titze has teaches at the Dresden College of Music since 1995. At the Summer University of Early Music he is teaching baroque oboe master classes for the sixth time,too Ulrike Titze studied violin in her natal town at the Music Institute of Dresden. This was followed y four years of collaboration with the Staatskaplle in Weinmar. Since 1986 she has been playing only the baroque violin. Ulriche Titze is charter member and concertmaster of the Baroque orchestra from Dresden. For years she taught the violin at the Hochschule für Music Carl Maria von Webber, Dresden. At the International Bach Academy she worked with Romanian and Ukrainian students several times. She is devoted to chamber music, responds to different orchestra’s invitations (Berlin Academy for Early Music, Baroque Orchestra Stuttgart, etc). This year he gives courses of baroque violin for the fifth time in Miercurea Ciuc and is also the artistic conductor of the Baroque Festival Ensemble. Erich Türk (born in 1972) studied organ at the “Gheorhe Dima” Music Academy in Cluj with Ursula Philippi and also

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at the University Of Music And Performing Arts in Vienna with Michael Radulescu. He also studied the harpsichord with Ilton Wjuniski and Gordon Murray. He participated at several master-classes for organ, harpsichord and basso continuo in Portugal, France, Germany, Switzerland and Moscow. Between 1995 and 1999 he was organist and choir conductor of the Evangelical Church in Mediaş. Since 1995 he has been teaching organ, harpsichord, organology and chamber music at “Gheorhe Dima” Music Academy in Cluj Napoca. As soloist and as a member of the Baroque Ensemble “Transylvania”, the Balkan Baroque Band and other chamber music ensembles he performed in Romania as well as most of the European countries. He made radio, TV and CD recordings, and with the Baroque Ensemble “Transylvania” he realized a documentary DVD on Transylvanian music. Erich Türk is involved in early music revival and period instrument research, being a frequent guest of Romanian early music festivals. He founded the TransylvANTIQs- label dedicated to local music culture. He also awarded several contemporary music pieces composed by Romanian composers. At the international “J.S. Bach” Organ Contest in Bruges 2000 he was awarded the 2nd prize and the public’s prize as wel Mónika Tóth obtained a degree in violin teaching from the Szeged Faculty of Music Ferencz Liszt in 1997. In 1999 she was awarded grants by the Soros Foundation and the Marco Fodella Foundation, with which she went on to study the violin and the early music at the Accademia Musicale Moderna in Milan, under Enrico Gatti. In addition to her formal studies she also attended the master classes of Simon Standage, Lucy van Dael, Jaap Schröder and Malcom Bilson. In 2000 she won the second prize at the Premio Bonporti Rovereto international chamber music competition, and the third prize at the „I. Telemann-Wettbwerb” in Magdeburg in 2001. She earned a degree with distinction in baroque violin from

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at the Vincenzo Bellini Conservatorium in Palermo in 2007, as a student of Enrico Onofri. She appears regularly with Hungarian and international early music group sand chamber ensembles, including I Barocchisti, Ensemble Zefiro, Accademia Bizantina, Il Giardino Armonico, Dolce e Tempesta, Europa Galante, Capella Leopoldina Graz, Barucco Wien, Neue Hofkapelle Graz, Accentus Austria, L’Eclisse, Estro Cromatico, Silva Rerum. Regensburg, Berlin, Barcelona, Leipzig and Vienna Festivals. She has contributed to recordings with the Decca, EMI, Sony, Archiv, Naiv, Arts, Hungaroton, Symphonia, Amadeus, Brilliant Classics and Virgin labels. She has taught baroque violin at early music academies in Hungary, including Tokaj, Agárd and Miszla. Since 2012 she has been the baroque violin teacher of the Talenti Vulcanici (Centro di Musica Antica Pietà de’ Turchini) ensemble. Jean Tubéry (born in Touluse) is a French player of the cornett and a conductor. He is noted for being one of the main cornett players to resurrect the baroque instrument, cornet à bouquin, as part of the historically informed performance movement and early music revival. Tubéry originally studied recorder at his home town Toulouse and then at the Amsterdam Conservatory, but decided to switch to cornet and undertook studies with Bruce Dickey at the Schola Cantorum Basiliensis. During the 1980s and 1990s he performed with almost all of the well known early music ensembles of the period including Les Arts Florissants, La Petite Bande, the Clemencic Consort of, Hesperion XXI, as well as the Ensemble Clement Janequin, Collegium Vocale de Gand, Concerto Vocale and so on. For the Ricercar record label and with the label’s own Ricercar Ensemble Tubéry commenced a series of recordings of Venetian wind music, in part entitled L’héritage de Monteverdi. In 1990 he founded his own Ensemble la Fenice. La Fenice won the first prize at the Concours International de Musique

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Ancienne of Bruges in 1990. The Ricecar has been the ensemble’s and Tuber’s best work ever. Having studied as a cornettist Tubéry furthered studied choral conducting with Hans Martin Linde and Pierre Cao. Starting from 2001 the chief early-music conductor of the „Choir de chamber de Namur”, and also served as guest conductor with the Ensemble Jacques Moderne of Tours, Pierre Cao’s Ensemble Arsys and the Scottish Dunedin Consort. Tubéry teaches cornett at the Conservatoire Supérieur C.N.R. of Paris and his students include several rising performers in the younger generation of cornettists. In 2001 Tubéry was named a „Chevalier de l’ordre de Arts et des Lettres” by the Minister of Culture Catherine Tasca. Piroska Vitárius graduated from The Liszt Academy of Music in 1995. She has participated on several early music courses throughout Europe. She studied baroque violin and chamber music at The Liszt Academy of Music, performed in Concerto Armonico and was a charter member and concertmaster of Orfeo orchestra. At the moment she is the concertmaster of Savaria Baroque Orchestra, the member

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of Musica Profana and Tercina ensembles and teacher of baroque violin at Renaissance and Baroque Week in Győr. She is the soloist of several national and international concerts and, released alsoCD recordings. Danuta Zawada studied violin from Maciej Sobczaktól at Gdańsk’s Music Conservatory and went on studied baroque violin at Krakow Music Academy under the guidance of Zygmunt Kaczmarski. Later she attended courses at Brussel Royal Conservatory and courses of Sara Kuijken. Her interest about early music and instruments was aroused after the master classes held by Mónika Tóth, Enrico Onofri, Marinette Troost, Jacques Ogg, Paolo Pandolfo, Kenneth Weiss and Simon Standage. She regularly perform in concerts with Hofmusici, Bella Indifferenza, Il Gardellino, Orfeo Orchestra, Estro Cromatico, Consortium Sedinum and Silva Rerum Arte ensembles. She is a member of the Polish Early Music Friends from Gdansk, the Junoir Early Music Ensemble from Krakow and is an active participant in the promotion of early music in Poland.

Ensembles: Balkan Baroque Band

The Balkan Baroque Band (BBB) brings together and revivals what musical Europe has ever been: a rich and alive

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melting pot of nomadic composers and artists, a huge musical culture with no boundaries. An orchestra composed by the greatest baroque musicians of the Balkans; Romanians, Croatians, Greeks, Serbians andBulgarians. An original orchestra, full of strong characters, which found a true and authentic «sound», a specific and peculiar interpretation based on oral transmission and not on theoretical writings. In the Balkans, lots of talented but secluded musicians are actually working fervently to develop baroque music in their country. Musicologists are digging up early music works that the iron curtain had hidden. The BBB managed to federate these musicians, so that a real prestigious orchestra could take life. Within the classical great repertoire, every concert of the BBB will integrate one or two unpublished pieces from Eastern Europe libraries, to discover this repertoire that is still ignored, but nevertheless immense. Baroque Ensemble „Transylvania” from Cluj Napoca consecrates itself to Transylvanian baroque music since 1995. Although using copies of period instruments, it also promotes contemporary Transylvanian music and has premiered works by Hans Peter Türk, Adrian Borza, Dan Voiculescu, Adrian Pop and Cornel Taranu. The ensemble´s activity is documented by five CDs and one documentary DVD about Transylvanian music, radio and TV- broadcasts as well as a brisk concert activity (ca. 500 performances). This accounts besides appearances at Romanian festivals, top-class receptions and state ceremonies especially the numerous concert tours abroad (Germany, Netherlands, Austria, Switzerland, Italy, Belgium, England, Portugal, Hungary, Moldavia). All members of the ensemble are graduates of the „Gh. Dima” Music Academy in Cluj Napoca a all them and continued their studies abroad. Playing also in various other

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chamber music groups, they diligently perform throughout Europe. L a Fenice Ensemble In mythology, La Fenice – the Phoenix – is a fabulous bird, which was celebrated for consuming itself in flame then rising from its ashes. La Fenice is used here as a symbol of the influence of Italian music in Baroque Europe. It was also the title of a work by Giovanni Martino Cesare, an Italian composer and cornett player who moved north of the Alps in the early XVIIth century. Today this name has been adopted by a group of musicians, whose common desire is to share their passion for the sumptuous Venetian music of that time and bring out all its extraordinary vitality. The ensemble’s repertoire nevertheless includes works by composers from all over Europe and covers more than two centuries of music; indeed, the cornett was commonly used in the early XVIth century by Josquin Desprez and his contemporaries and it was still in use at J.S. Bach’s time and Bach himself included it in several of his cantatas. The cornett can be found alongside the voice in sacred music throughout the Baroque period; it is mentioned in the registers of the Royal Chapel at Versailles until 1733. As for the sound it produces, Mersenne, tells us in his Harmonie universelle (Paris, 1636) that „ it is like a sunbeam shining through the shadows or through the darkness when it is heard among the voices in churches, cathedrals or chapels…“Concerned to respect the original instrumentation, particularly in vocal music, where the instruments shed light on the text through their symbolical import, the ensemble adapts to fit in with the occasion of each programme it performs. Coming from all over Europe, the Ensemble’s musicians are all internationally renowned soloists, playing with the best Early music ensembles in the world. Just after its establishment, the ensemble La Fenice has won the first prize in two international competitions (Bruges, 1990 and Malmö, 1992). Since then, it has played in the most important festivals in France, Europe and all over the world. La Fenice’s recordings – Opus 111, Virgin Classics, Ricercar – are regularly awarded

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the most prestigious distinctions (Choc Monde de la Musique, Diapason d’Or, 10/10. Répertoire, 5 Etoiles. Goldberg). Passeggio Dance Ensemble from Cluj-Napoca (Romania) is trying to rediscover the dance, the costumes, the social behavior and the ways of spending leisure time characteristic in the European region, during the 13th–19th centuries. The performances designed by choreographer Csilla Juhász are very diverse, so the public is surprised whenever watching: them sometimes they have authentic presentation of the dance, other times they combine original dance steps and rearrange them so that the salon dance to be adjusted for the scene. The distinct element of their performances is the attempt to give a storyline for the entire presentation, the aim to interpret small sketches using dance steps. The costumes sown by the members are attentively documented. Furthermore, they avoid the creation of “uniform” costumes and try to turn every outfit into a unique piece of art. The ensemble gladly attends medieval festivals, historical events or private events (proms, anniversaries, weddings). Codex early music ensemble was founded in the autumn of 1996 by music teachers and students of Transylvania University from Saint George, Brasov and Miercurea Ciuc. Their main goal is to give an authentic rendering of the Hungarian (especially Transylvanian) and European music from the 15th-19th centuries, using authentic instruments. The members of the ensemble have learnt from numerous internationally acclaimed musicians at different international master classes: Innsbruck, Utrecht, Karlsruhe, Sopron, Szeged, Szombathely, Szentendre, Budapest, etc. K ájoni Consort old music ensemble was established

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in December of 1988 in times when others were leaving Transylvania for a better life and to ensure a better future for their children. The ensemble is under the auspices of the Gaál Mózes Public Education Association since 1994 and was brought to life by 12 passionate composers. To endure the monotony of everyday life and the nearly hopeless present and future they have chosen to make music, above all Renaissance music, for shelter and in the hope of renewal. Their repertoire includes secular and religious vocal and instrumental compositions of composers of the early Baroque and Renaissance periods. They have played not only pieces collected and noted down by Kájoni János, the person giving his name to the ensemble, and other Transylvanian composers of the age, but they lay a special emphasis on presenting works by composers of other regions, thus wandering together with their audience over Europe with the help of the music. They are regular participants in old music festivals in Csíkszereda and Segesvár and have received a great number of invitations. In 2008 the group took part in a concert tour in Western Europe (Vienna, München, Paris, London) promoting Transylvanian and Renaissance music. In 2008 the group celebrated its 20th anniversary in the company of other Transylvanian old music ensembles. They were awarded the “For the Culture of Erdovidek” award by the Gaál Mózes Public Education’s board of trustees. Also on this occasion, they received EMKE’s honorary diploma for their excellent performance in evoking Transylvanian and European Renaissance music. In 2009 they established the “Kájoni Consort” association to ease the possibility of projects and availability. They organize the Reunion of Old Music in Erdovidek in the Daniel Castle in Olasztelek since 2011 to which other Transylvanian ensembles are also invited. On the 20th anniversary of the ensemble, the Tinódi Award

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holder old music composer Deák Endre characterized the group: “Playing music for us is not only about filling our free time, it’s a way of living, it’s the understanding of an era in the history of music and the immersion in it, that intellectual interest which so much needed by our national identity.” Lyceum Consort is an amateur early music ensemble consisting of young people from Bucharest. Their fundamental aim is to study medieval and Renaissance music, to perform and its promoteit. During the fifteen years of its existence, the ensemble has had more than three hundred concerts in different settlements of Romania, as well as in Hungary and Germany. They often participate at the Miercurea Ciuc and Sighisoara Early Music Festivals and at several other artistic events with a similar character. The ensemble was awarded of several prizes at musical competitions. A number of radio and television recordings have been made of their performances. The Musica Historica ensemble was founded in Budapest in 1988. In addition to classical and early music instruments, its members also dealt with Hungarian and Eastern European folk instruments. The background for the work of the ensemble is provided by serious research; for example, the examination of the relationship between Hungarian and Central European music in the 15th–19th centuries; sung poetry of the Middle Ages and the Renaissance; Hungarian poetry of the 16th–19th centuries; research into Baroque style problems. It is the belief of the members of the group that early music – given knowledge of literature – is a genre open for experimentation. There are times when works composed several hundred years earlier seem very distant; children’s programmes and Renaissance dances, however, may bring them closer to us. Musica Historica is one of the ensembles performed Hungarian early music ensembles. They have had more

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than 1100 performances throughout, as well as together with other formations of the early music scene. The group tours frequently to places such as: Transylvania (Romania), Slovakia, Austria, Italy (Musica Cortese Festival, Ferrara Buskers Festival), Poland, Germany (Kaltenberger Ritterturnier), Czech Republic and Turkey. They have also recorded for MTV (Hungarian Television), Duna TV, Hungarian Radio, the ORF and TV5 France. The ensemble has published six CDs, three audiotapes and has cooperated on several audio-anthologies. Carmina R enascentia is an early music ensemble from Carei, a historic small town in the north-west of Transylvania. Founded in 2012 by the members of the former early music group Collegium, Carmina Renascentia aims to promote the spirit of the ‘early music workshop’ initiated by their late colleague and leader, Endre Deák in 1977. The ensemble performs both vocal and instrumental music from the Renaissance, including secular and religious pieces from Transylvanian, Hungarian, German, English, Flemish, Italian manuscripts and printed collections. Playing reconstructions of Renaissance instruments, they favour a style of interpretation characterized by musical vitality as well as authenticity.

Artistic consultant of the Festival Ignác Csaba Filip learnt fluting as a student of Ament Janos at the Art School in Târgu Mureş 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 internationl master’s courses where he acquired the

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technics 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 Lőrincz László. As member of the ensembles Cantus Serenus, Amaryllis, Georgius, Codex, Stravagante, he performed on many national and international chamber music concerts and in operas, too. Between 2001-2003 he was the musical conductor of the Tamasi Aron Theatre in Saint George, where he composed music as well. As a flute soloist he collaborated with a lot of philharmonic orchestras (Cluj Napoca, Targu Mures, Brasov, Oradea, and the Orchestra of Bucharest Radio). He pulished two books of methodology in 1988, with the titles of „Furulyaiskola” and „Furulyamuzsika” which were republished five times. He got a lot of radio and television recordings. In 1994 and 1995 he made two CDs with the Anonymus Ensemble from Cluj Napoca at the Hungaroton publisher. In 2004 and 2006 he made discs that include Hungarian Baronial Music with the Codex Ensemble. Since 1996 he has been working as a professor at the „Transylvania University” in Brasov. In 2004 he obtained the doctor’s degree at the „Gheorghe Dima Academy of Music” and founded the Georgius Ensemble. Since 2008 he is the artistic consultant of the Early Music Festival from Miercurea Ciuc.

7th Summer University of Early Music

July 6-11, 2014 Master classes:

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• Zoltán Széplaki (Budapest) – recorder, flute • Piroska Vitárius (Budapest) – Baroque violin • Guido Titze (Drezda) – Baroque oboe • Réka Palócz (Budapest ) – voice • Mária Fülöp (Basel) – harpsichord • István Kónya (Budapest) – lute and guitar • István Csata (Cluj) – viola da gamba, basso continuo • Kasza Roland (Budapest) – early music percussions, percussion chamber courses • Gábor Kovács (Szeged) – renaissance and baroque dances (min. 6 participants) All participants may attend renaissance ensemble master classes with the guidance of Rumen István Csörsz (Budapest) and morning dance classes with Anikó Szabó (Cluj). Beside the Summer University - Course closing concert the students also have the possibility to perform at the festival’s concerts.

Recitations: Elena Maria Şorban: Plainchant in Medieval Transylvania Jean Cristophe Frisch: Ornamentation of French music Cyrille Gerstenhaber: Pronunciation in baroque music Jean Cristophe Frisch: The relationship between dance and music in French baroque music Harpsichord: Amalia Goje, Noémi Bognár, Zsuzsa Csengeri Kostyák (Cluj).

Translated by: Elena Maria Şorban (Cluj) Katalin Hanke (Brasov) Réka Gyergyay (Saint George) Early Music Festival Csíkszereda Cultural Center of Harghita County

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Artistic consultant of the Festival dr. Ignác Csaba Filip In the aspect of the festival we used András Mérey, graphic artist’s graphic designs from 1980 www.ccenter.ro www.musicaantiqua.ro www.musica-antiqua-hr.ro

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Early Music Festival Miercurea-Ciuc 2014 - programme booklet