Early Music Festival Miercurea Ciuc 2022 – programme booklet

Who would not delight in the deep sound of the wind, the polyphonic song of the birds, the evening concert of the frogs, the roar of the deer, the rustling of the trees, the chirping of the fields? Who would not feel fear when listening to a raging storm?

A love of nature and music is a fundamental human quality.

From time to time, we need to experience the eternal, majestic and soothing power of nature, and it is important to open our ears to the music of nature, too. In the same way, through music, we can reach a dimension where we can contemplate the music of happiness inherent in the human race.

The festival offers the exhilarating, rejuvenating and recharging power of music and nature. We look forward to seeing you all!

Dr. Ignác Csaba Filip, Artistic Director of the Festival

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The programme booklet of the Miercurea Ciuc Early Music Festival is available in Hungarian, Romanian and English.

Publisher: Harghita County Council and Cultural Center of Harghita County 4 Blvd Timișoarei Miercurea Ciuc 530102 Tel.: +40–266–372044, fax: +40–266–315891 www.ccenter.ro

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kultura@ccenter.ro www.regizene.ro earlymusicfestival@gmail.com Publishing Coordinator: Angéla Ferencz Artistic Director of the Festival: dr. Ignác Csaba Filip Programme Coordinator, Editor: Gabriella Fazakas Consulting Editor: Kinga Öllerer Translation: Imola Ercse, Kinga Öllerer Collaborator: Katalin Kolozsváry Branding, Graphic Design, Prepress: Raster Line Photo: Hervé Letourneur (6, 8), Gyula Ádám (10, 13, 21, 22, 25, 31, 32, 34, 36, 39, 49, 50, 52, 63), Alex Damian (15), Andrea Riderelli (17), Anett Kedves (19), László Kasza (20), Radu C. Ilea (27), Szilárd Kis (35, 48), Edit Iszlai (42), Kaupo Kikkas (44).

For the branding of the current edition of the Festival, the plans of András Mérey for the 1980 Festival poster, and graphic elements from the manuscripts of Joannes Kájoni have been used.

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Contents Programme of the Miercurea Ciuc Early Music Festival

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Events and performers: Obsidienne (FR)

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Madéfalvi Schola (RO)

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Concerto Spiralis (HU, RO)

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Sempre (RO)

15

Cipriana Smărăndescu (IT)

17

Book presentation – Elena Maria Șorban

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Canlar (HU)

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Kájoni Consort (RO)

22

Codex (RO)

25

Flauto Dolce (RO)

27

Documentary film screening

30

Baroque Festival Orchestra (RO)

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Children’s Renaissance Day

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Wine tasting

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Carmina Renascentia (RO)

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Musica Historica (HU)

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Erich Türk (RO)

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Hortus Musicus (EE)

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Local history tours with music

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The programme, teachers and lecturers of the 14th Early Music Summer University

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Tickets and passes

64

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PROGRAMME OF THE MIERCUREA CIUC EARLY MUSIC FESTIVAL

9–17 July 2022

SATURDAY, 9 JULY

The square in front of the Mikó Castle (2 Cetății Square) – departure point 09.00 Local history tour with music to Șumuleu Ciuc**

18.00

Mikó Castle (2 Cetății Square)* Opening Ceremony of the Festival

OBSIDIENNE (France): “The Garden of Earthly Delights”: Heaven and Hell – Beauties and Destructions of the Earth

18.30

SUNDAY, 10 JULY

Franciscan Church of Șumuleu Ciuc – Basilica Minor Papalis (148 Szék Street) 11.30 MADÉFALVI SCHOLA (Romania): Ave maris stella

Mikó Castle (2 Cetății Square)* CONCERTO SPIRALIS (Hungary, Romania): Sinfonie Boscarecie – Forest Symphonies

18.00

MONDAY, 11 JULY

Cinema Csíki Mozi, Petőfi Stage (2 Majláth Gusztáv Károly Square) 19.00 SEMPRE (Romania): Baroque Unknown

Mikó Castle Northwestern Bastion Hall (2 Cetății Square) 21.00 CIPRIANA SMĂRĂNDESCU (Italy): Le Vertigo

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TUESDAY, 12 JULY

Márton Áron National College, Festive Hall (80 Márton Áron Street) Book presentation – ELENA MARIA ȘORBAN (Romania): Muzică din cuvânt. De la Bach la Beethoven (Music out of Words. From Bach to Beethoven)

16.00

Mikó Castle, Northwestern Bastion Hall (2 Cetății Square) CANLAR (Hungary): “The Moon-Faced Has Come…” – Whirling Dervish Ceremonial Music in Bayati Maqam Scale

21.00

WEDNESDAY, 13 JULY

Mikó Castle, Northwestern Bastion Hall (2 Cetății Square) KÁJONI CONSORT (Romania): Era di Maggio – Sung Love Poetry and Instrumental Music from the 16–18th Centuries

17.30

Cinema Csíki Mozi, Petőfi Stage (2 Majláth Gusztáv Károly Square) 19.00 CODEX (Romania): La Pastorella

THURSDAY, 14 JULY

19.00

Cinema Csíki Mozi, Petőfi Stage (2 Majláth Gusztáv Károly Square) FLAUTO DOLCE (Romania): Musica, natura, amore

20.00 Documentary film screening: Crafting Recorders – The von Huene Workshop, Inc.

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FRIDAY, 15 JULY

Millennium Church (38 Kossuth Lajos Street) CLOSING CONCERT OF THE 14TH EARLY MUSIC SUMMER UNIVERSITY (I)

10.00

Márton Áron National College, Festive Hall (80 Márton Áron Street) CLOSING CONCERT OF THE 14TH EARLY MUSIC SUMMER UNIVERSITY (II)

15.00

Szent Ágoston Church (1 Szent Ágoston Square) BAROQUE FESTIVAL ORCHESTRA (Romania): “What moves away from nature no longer moves us”

19.00

SATURDAY, 16 JULY

Frumoasa, Szekler Border Guard Memorial Center (18 Mihăileni Street) – departure point 10.00 Local history tour with music – Saint Ladislaus thematic tour

Mikó Castle (2 Cetății Square)* Children’s Renaissance Day: craft workshops and Renaissance games

11.00

Mikó Castle, Weapons room (2 Cetății Square) IntertWINEd with Nature Wine tasting, with the Vinkli wine gallery**

16.30

11.30

Mikó Castle (2 Cetății Square) CARMINA RENASCENTIA (Romania): Flowers in Music – Floral Symbolism in 16–17th Century European Melodies

SUNDAY, 17 JULY

Roman Catholic Church of Frumoasa (143 Principală Street) ERICH TÜRK (Romania): The Cuckoo, the Shepherds and the Storm

11.00

Szent Ágoston Church (1 Szent Ágoston Square) 20.00 HORTUS MUSICUS (Estonia): Musical Highlights of Europe With the participation of the LUX AURUMQUE CHAMBER CHOIR (Miercurea Ciuc)

* In case of bad weather, at the Csíki Játékszín Theatre, Great Hall (6 Blvd Timișoarei) ** Participation in this event is based on prior registration by calling +40–746–244235 (for the tours) and +40–753–055311 (for wine tasting)

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21.00 Renaissance Dance event, with Csilla Juhász

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19.30 MUSICA HISTORICA (Hungary): “Wait Me, My Bird” – Sung Love Poetry in the 17th Century Hungary

Details regarding the tickets can be found on page 64 and online at www.regizene.ro The organisers reserve the right to make changes to the programme.

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OBSIDIENNE / FR

“The Garden of Earthly Delights”

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Heaven and Hell – Beauties and Destructions of the Earth

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Saturday, 9 July, Mikó Castle, 18.30 The Miracle of Creation

Fami cantare (Lauda no. 8, Laudario di Cortona, 13th c.)

Verbum caro (Lauda, improvisation on gregorian teneur, 15th c.)

Questo nobil bambino (Lauda, 16th c.)

Hell – Fire

Au feu (Manuscript of Bayeux, 15–16th c.)

Thoinot Arbeau (1519–1595): Branle de la guerre (Orchésographie, Langres, 1588) Hélas, Olivier Vasselin (Manuscript of Bayeux, 15–16th c., arranged by Barnabé Janin)

Josquin des Prés (c. 1450–1521) : Scaramella Claude Goudimel (c. 1514–1572): Le fol malin Ante luciferum (improvisation on gregorian teneur) Jean Delahaye (c. 1465–1480): Mort j’appelle de ta rigueur lyrics: François Villon (c. 1431–c. 1463) (Chansonnier Nivelle de la Chaussée, c. 1460) Paradise – Adam and Eve – Air

Nova, nova (Carol, Old Hall Manuscript, 15th c.)

Nowell (Carol, Old Hall Manuscript, 15th c.)

Jacopo da Bologna (c. 1340–c. 1386): Aquila Altera (Codex Reina, 14–15th c.)

Solage (14th c.): Fumeux fume (Codex Chantilly, 14–15th c.)

Guillaume Dufay (1397–1474): J’attendray tant qu’il vous plaira Guillaume Dufay (1397–1474): Je veuil chanter Pierre de la Rue (c. 1450–1518): Autant en emporte le vent (Chansonnier of Margaret of Austria, 16th c.)

The Garden of Earthly Delights – Earth

On doit bien aymer l’oiselet (Manuscript of Bayeux, 15–16th c.)

Josquin des Prés (c. 1450–1521): El grillo Gentils gallants (Manuscript of Bayeux, 15–16th c., arranged by Barnabé Janin) Oy comamos y bebamos (Cancionero de Palacio, 15-16th c.)

obsidienne

Claudin de Sermisy (c. 1495–1562): Sur le pont d’Avignon Pierre Certon (c. 1515–1572): Kyrie from the mass Sur le pont d’Avignon Pass’el agoa (Cancionero de Palacio, 15–16th c.)

Uns kommt ein Schiff (Manuscript of Cologne, 1543) Orazio Vecchi (1550–1605): So ben mi chia bon tempo Josquin des Prés (c. 1450–1521): Mille regrets

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The Garden of Earthly Delights – Water

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Marco Polo raved about the oil of Mesopotamia, which provides an abundance of fuel for fire, the devastating and warlike fire of Hell as opposed to Paradise Lost. God had given us a nourishing Earth with unlimited reserves, but then came the Black Death (the pandemic of ages past), God’s punishment for the sins that resulted from man’s dominion over nature.

Perhaps the protective image of Mother Earth has taken on the human features of the Virgin Mother… The enchanting triptych The Garden of Delights by Hieronymus Bosch represents this tension between the beautiful and the ugly, good and evil, and inspires the spirit of this concert.

Obsidienne draws its programme from the rich repertoire of the 15th and 16th centuries, from the Burgundian court to the Franco-Flemish repertoire, from the Parisian chanson to the European madrigal. Obsidienne’s interpretation offers cheerful and festive music that delights all audiences. The musicians arrange, improvise and switch from song to instruments (psaltery, viols, viols and rebec, flutes and bagpipes) alternating popular monody with the subtle polyphony of 15th-century European composers, at the boundary between the end of the Middle Ages and the beginning of the Renaissance.

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Florence Jacquemart voice, flutes, pipes

Hélène Moreau voice, psaltery, percussion

Camille Bonnardot voice, citole, maurache, horn, buisine

Emmanuel Bonnardot voice, fiddle, rebec, citole, crwth, horn

Barnabé Janin voice, fiddle, oboe

Ludovic Montet

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voice, dulcimer, percussion

obsidienne

Founded in 1998, the ensemble Obsidienne, directed by Emmanuel Bonnardot, bases its musical project on an artistic and uninhibited reading of the medieval and Renaissance repertoire, reconciling the art of interpretation with that of improvisation, mixing rare instruments with natural and accurate voices. The connivance of a close-knit team, with multiple skills in the spirit of chamber music and of a troupe, has given Obsidienne a longevity and a relevance that has enabled it to achieve a remarkable musical quality, a complicity and a joyful mood appreciated by the public.

Noted for the finesse and poetry of its instrumental and vocal phrasing, Obsidienne is today one of the leading ensembles in the interpretation of medieval music. It regularly takes part in the most prestigious programmes in France and abroad.

Its discography has received the most prestigious awards from the French and international press. https://www.obsidienne.fr/

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MADÉFALVI SCHOLA / RO

Ave maris stella 10 July / Franciscan Church of Șumuleu Ciuc / 11.30

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A solis ortus cardine – Hymnus in Nativitate Domini ad Laudes hymn of the morning prayer on Christmas Day (Liber Usualis, Tournai, 1930)

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Gaudeamus omnes in Domino – Introitus in Communie Beate Mariae Virginis Feast of the Virgin Mary – introit for the entrance procession (E75 Einsiedeln, Stiftbibliothek 121, Graduale Novum I, Regensburg, 2011) Puer Natus – Introitus in Nativitate Domini introit for the entrance procession on Christmas Day (E30 Einsiedeln, Stiftbibliothek 121, Graduale Novum I, Regensburg, 2011) Omnes gentes – Introitus in Dominica decima tertia introit for the entrance procession on the Thirteenth Sunday, in Ordinary Time (E319 Einsiedeln, Stiftbibliothek 121, Graduale Novum I, Regensburg, 2011) Kyrie – Missa Cunctipotens Genitor Deus fragment from Gregorian Mass IV (10th c., Graduale Novum I, Regensburg, 2011) Gloria – Missa Cunctipotens Genitor Deus fragment from Gregorian Mass IV (10th c., Graduale Novum I, Regensburg, 2011)

Laetatus sum – Graduale in Dominica Quarta Quadragesimae gradual of the Fourth Sunday in Lent (C79 St., Stiftbibliothek, 359, Cantatorium cca. 920, Graduale Novum I, Regensburg, 2011) Alleluia: Redemtionem – Dominica quarta Paschae alleluia of the Fourth Sunday after Easter (C149 St., Stiftbibliothek, 359, Cantatorium cca. 920, Graduale Novum I, Regensburg, 2011) Credo – Ist Gregorian Creed (11th c., Graduale Novum I, Regensburg, 2011) Dextera Domini – Offertorium in Dominica Resurrectionis ad vigiliam Paschalem offertory for Easter Sunday (E68 Einsiedeln, Stiftbibliothek 121, Graduale Novum I, Regensburg, 2011) Meditabor – Offertorium in Dominica Secunda Quadragesimae offertory for the Second Sunday in Lent (E109 Einsiedeln, Stiftbibliothek 121, Graduale Novum I, Regensburg, 2011) Sanctus – Missa Cunctipotens Genitor Deus fragment from Gregorian Mass IV (11th c., Graduale Novum I, Regensburg, 2011) Agnus Dei – Missa Cunctipotens Genitor Deus fragment from Gregorian Mass IV (12-13th c., Graduale Novum I, Regensburg, 2011)

Hodie Christus natus est – Antiphona ad Magnificat in Nativitate Domini antiphon sung for vespers on Christmas Day (Magnificat Antiphons, in Liber Usualis, Tournai 1930) Ave maris stella – Hymnus in Commune Festorum Beate Mariae Virginis ad Vesperas hymn sung on the Feast of the Blessed Virgin Mary (Liber Usualis, Tournai 1930)

madéfalvi schola

Qui manducat – Communio in SS.MI Corporis et Sanguinis Christi communion song for the Feast of Corpus Christi (E127 Einsiedeln, Stiftbibliothek 121, Graduale Novum I, Regensburg, 2011)

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Amen dico vobis – Communio in Dominica Nona communion song for the Ninth Sunday in Ordinary Time (E342 Einsiedeln, Stiftbibliothek 121, Graduale Novum I, Regensburg, 2011)

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The programme consists of a selection of works learnt over the years; namely, Gregorian chants linked to feasts of the Church year. Mass movements are performed in the order in which they appear in the liturgy, with a selection of movements from several feasts. The programme also includes chants of the canonical hours, including two hymns and a Magnificat antiphon.

The works performed are from the volumes Liber Usualis Missae et Officii (1930) and Graduale Novum (Editio Magis Critica Iuxta SC 117, Regensburg, 2011).

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The Madéfalvi Schola (Schola Gregoriana Siculeni) was founded in 2013 under the direction of conductor András Ványolós. The members of the choir are enthusiastic children from Siculeni (Madéfalva in Hungarian) who love singing.

Over the years, the number of members has grown and the choir now has 23 members, some of whom have reached adulthood. They have participated in Schola meetings, and have also performed in Budapest, Târgu Mureș, Sângeorgiu de Mureș, Alba Iulia, Deva, Brașov and Sfântu Gheorghe.

The Madéfalvi Schola has been practising and cultivating Gregorian chant for almost 10 years, and in the meantime it has become evident that this style is very suitable for developing the singing voice and deepening faith. Kodály’s principle that universal values should be the yardstick for the education of youth is confirmed by the children’s love and appreciation of this complex musical language.

CONCERTO SPIRALIS / HU, RO

Sinfonie Boscarecie – Forest symphonies 10 July / Mikó Castle / 18.00

Marco Uccellini (1603/1610–1680): Symphonia vigesima detta la Virmingarda (Sinfonie Boscarecie, op. 8, Venice, 1669) Claudio Monteverdi (1567–1643): Augellin che la voce, SV87 (Settimo libro de madrigali, Venice, 1619)

Giovanni Battista Fontana (1589–1630): Sonata Quarta decima (Sonate a 1, 2, 3 per il violin, o cornetto, fagotto, chitarone, violoncino o simile altro instromento, Venice, 1641) Francesco Rognoni (the latter half of the 16th c.–1626): Vestiva i coliiper la viola: Alla Signor Paolo Stainhauser, Modo Difficile per Suonaralla Bastarda (Selva de varii passaggi, Milan, 1620) Giovanni Picchi (1571/2–1643): Canzona duodecima (Canzoni da sonar con ogni sorte d’istromenti, Venice, 1625) Antonio Cesti (1623–1669): Sonata avanti Il Pomo d’oro (Vienna, 1668)

concerto spiralis

Salamone Rossi (c. 1570–1630): Sinfonia undecima in eco (Sinfonie et Gagliarde I, Venice, 1607)

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Marco Uccellini (1603/1610–1680): Symphonia prima detta la Rovetta (Sinfonie Boscarecie, op. 8, Venice, 1669)

Dario Castello (1602–1631): Sonata decimaquarta

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Dóra Király (Budapest) recorder, dulcian

Arany Kővári (Basel/Zalău) recorder, cornetto

Koppány Hunyadi (Miercurea Ciuc, artistic director) violin

Csenge Orgován (Bremen/Budapest) violin

Dávid Csibi (Satu Mare/ Târgu Mureș) violin, viola

Előd Gábor

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(Brașov/ Miercurea Ciuc) violin, violoncello da spalla

István Csata (Cluj-Napoca/ Miercurea Ciuc) viola da gamba

Zsombor Lázár (Miercurea Ciuc) cello

Attila Szilágyi (Budapest) violone

Csaba Fodor (Miskolc) harpsichord

Paul Cristian (Brașov) organ

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(Sonate Concertate in Stil Moderno II, Venice, 1629) Claudio Monteverdi (1567–1643): Hor che ’l ciel e la terra e ’l vento tace, SV 147 (Madrigali Guerrieri et Amorosi VIII, Venice, 1638) Alessandro Stradella (1639–1682): Sinfonia avanti il Damone (La forza delle Stelle ovvero il Damone, Rome, 1676) Marco Uccellini (1603/1610–1680): Symphonia Decima Settima – A harda (Sinfonie Boscarecie, op. 8, Venice, 1669)

An important aspect of the new musical style that emerged in the first half of the 17th century was the direct expression of emotions in a way that lacks artificiality as much as possible, and is inspired by nature. The pillars of the programme are 17th century symphonies that were the prelude to operas evoking the magical world of nature (The Golden Fruit Tree, The Power of the Stars), and a few pieces from the collection of Forest Symphonies. During this period in the history of music, poems about nature were often set to music in madrigals: hills adorned by the spring, the flight of a bird bringing love and pain, the tranquillity of nature at night juxtaposed with human struggle. The composers strove for organic thinking not only in the themes of their works, but also in their compositional techniques, so it is no wonder that landscapes and natural phenomena appear before our spiritual eyes when we listen to the music of the early 17th century.

Concerto Spiralis was founded in 2012 by Koppány Hunyadi after his return from his studies in Italy. The aim of the ensemble is to promote quality early music, by showing that this music, which has stood the test of centuries, is still alive and fresh today, if played by musicians who know the musical language of the time. The ensemble’s repertoire covers the musical period from the second half of the 16th century to the mid-18th century.

Since 2015, the ensemble has been regularly organising concert series in churches of the former Csík County, at the same time raising public awareness of the built heritage.

SEMPRE / RO

Baroque Unknown 11 July / Cinema Csíki Mozi, Petőfi Stage / 19.00

Giovanni Henrico Albicastro (1660–1730): Concerto a quattro in F Major, op. 7, no. 1 Spiritoso – Allegro – Grave – Allegro

Nicolas Chédeville (1705–1782): Le Printemps ou Les saisons amusantes, op. 8, La Moisson Allegro – Largo – Allegro Giuseppe Antonio Brescianello (1690–1758): Triosonata in B minor for two violins and basso continuo Largo – Presto – Adagio – Presto

sempre

Gregor Joseph Werner (1693–1766): Neuer un sehr curios Musicalischer Instrumental Calender – Il Novembre: Der melancholische Student – Allegro assai Tags-Länge 10. Stund / Die Nacht 14. Stund – Menuet Ein Sturm – Wetter auf der See – Tempo di bon gusto

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Johann David Heinichen (1683–1729): Concerto in A minor for violin, strings, and basso continuo Largo e staccato – Allegro – Affettuoso – Allegro

Johann Georg Pisendel (1687–1755): Concerto in D Major for violin and string orchestra Vivace. Andante. Vivace – Andante – Vivace

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Mircea Ionescu violin

Rafael Butaru violin

Mircea Grigore Lazăr violin

Tamara Dica viola

Zsombor Lázár cello

István Csata double bass

Andrej Jovanić (Serbia) guitar

Raluca Enea

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harpsichord

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The Baroque Unknown programme offers a new perspective on European Baroque music. We have probably all heard of Vivaldi, Bach, Handel, Rameau, Corelli. Baroque Unknown brings to the public’s attention one of the “unknown facets” of this musical era, whose creation we always find dozens, hundreds, maybe even thousands of pages of music, insufficiently explored, at least in our country.

Little known or never heard of, these include names such as Brescianello, Albicastro, Heinichen, Pisendel, Chédeville, Werner, composers who left an important stylistic mark on the evolution of universal music but who, for reasons we do not yet know, have remained “unknown” or have not become as well known as their contemporaries.

Whether known or unknown, the music of these composers is scintillating, contrasting, fascinating and brings back to the contemporary world a never-ending spirit of creative inspiration and instrumental virtuosity.

Sempre brings together musicians specialised in the interpretation of early music. Their repertoire consists mainly of 18th-century Baroque music, but the concert programmes also include pieces from the 17th century and works from the pre-Classical period. The members of the ensemble are concerned with the authenticity of the performance (both in terms of musical stylistics and the instruments, which are faithful copies of the original historical instruments), but also with thorough musicological research, which allows them to approach original repertoire concepts.

The musicians who make up the ensemble have attended specialisation courses in the field of early music, at master’s or bachelor’s levels in prestigious institutions in Europe, and have been playing early music for over 20 years. Sempre has a modular structure, adaptable to different types of repertoire, ranging from chamber duo or trio formulas to extended orchestral formations. The ensemble’s recent productions include Sempre Vivaldi, Händel vs Händel, Les Caractères, Baroque Unknown.

CIPRIANA SMĂRĂNDESCU / IT

Le Vertigo 11 July / Mikó Castle, Northwestern Bastion Hall / 21.00

Jean Henri D’Anglebert (1629–1691): Prélude in G Major from Suite I

François Couperin (1668–1733): Prelude no. 6 in B minor – Prelude no. 8 in E minor – Prelude no. 5. in A major (L’art de toucher le clavecin, Paris, 1716) Les Ondes (Ordre V) Jean Philippe Rameau (1683–1764): Rigaudon I–II – Tambourin in E minor (Pièces de Clavecin, 1724) Jean Philippe Rameau (1683–1764): Les Tendres Plaintes (Rondeau) – Le Lardon (Menuet) – Les Soupirs (Pièces de Clavecin, 1724) Les Sauvages (Nouvelles Suites de Pièces de Clavecin (1726/27)

cipriana smărăndescu

François Couperin (1668–1733): Prelude no. 1 in C major – Prelude no. 2 in D minor – Allemanda in D minor – Prelude no. 4 in F major – Prelude no. 3 in G minor – Prelude no. 7 in B-flat major (L’art de toucher le clavecin, Paris, 1716) Les Bergeries (Rondeau) – Les Barricades in B-flat major Mystérieuses (Ordre VI)

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Joseph Nicolas Pancrase Royer (1703–1755): Le Vertigo (Rondeau) – L’Aimable

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Cipriana Smărăndescu

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harpsichord

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Dedicated to Nature, the programme consists of Baroque music that is both enchanting and evocative. The most appropriate natural musical setting for a theme of this kind can be none other than French harpsichord music, which is able to paint moments and states of nature.

The evocation starts from an extremely suggestive and virtuosic work, Le Vertigo by Pancrace Royer, passing through Les Ondes and Les Baricades Mistérieuses by François Couperin, to Les Sauvages by Jean Philippe Rameau. These are a few moments that paint the natural inspiration of musical Baroque, in one of its most sensitive and attractive aspects for the public, that of French music dedicated to the harpsichord.

Cipriana Smărăndescu studied harpsichord under Patrizia Marisaldi (Vicenza) and Ogneanca Lefterescu (Bucharest), while Ton Koopman, Andreas Staier, Patrick Ayrton and Pierre Hantaï also contributed to her artistic development.

She won or participated in important international harpsichord competitions in Milan, Pesaro, Leipzig and Brugge.

She has performed in Italy, Spain, France, Switzerland, Austria, Belgium, Germany, recording for the Romanian public television TVR and Radio, Radio Vaticana, Aliusmodum Records.

As a soloist she recorded 2 compact discs: Invenzioni, Sinfonie e Sei Piccoli Preludi by Johann Sebastian Bach and Notenbüchlein für Anna Magdalena Bach.

She is the founder of the Baroque ensembles Aliusmodum and Dolci Accenti. She holds a degree in musicology with a thesis on Domenico Scarlatti.

Currently teaching at the Urbino Giovani and Cristóbal Galán Baroque Academies in Rome, where she founded the Aliusmodum Youth Harpsichord Academy and is on the jury of several international harpsichord competitions. https://www.ciprianasmarandescu.it/

(Music out of Words. From Bach to Beethoven) Book presentation 12 July / Márton Áron National College, Festive Hall / 16.00

The most recent book by musicologist Elena Maria Șorban examines various German-language vocal masterpieces by Bach, Handel, Mozart, Haydn and Beethoven. Drawing on the origins, history and historical context of the literary texts, the volume traces the history of the works, including their use in contemporary art.

The main text is aimed at concert-going music fans, while the explanatory footnotes can provide an important reference for performers, musicologists and translators.

The book is presented by the author.

elena maria șorban

Muzică din cuvânt. De la Bach la Beethoven

l music out of words. from bach to beethoven

ELENA MARIA ȘORBAN / RO

Biographical details for musicologist Elena Maria Șorban can be found on page 61.

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CANLAR / HU

“The Moon-Faced Has Come…”

Whirling Dervish Ceremonial Music in Bayati Maqam Scale

miercurea ciuc early music festival

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12 July / Mikó Castle, Northwestern Bastion Hall / 21.00

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Neyzen Emin Dede (1883–1945): Bayati peşrev Köçek Mustafa Dede Efendi (?–1684): Bayâtî Âyîn-i Şerîf

The Mevlev ceremony (Âyîn) is musically the most complex and longest form of Ottoman music. By way of introduction, and to set the mood for the ceremony, a long and usually slow piece, a Pesrev (the name means ‘walking in front’) is played first. This is followed by the music of the rotation, divided into four movements (Selam – ‘greeting’). The last movement is then followed by a faster-paced Semáí, a final movement, and the ceremony concludes with instrumental improvisations.

The order of the Âyîn is rigorously structured, escalating from a slow start to ecstasy, which is then calmed by the concluding improvisations. The ritual is also important in

Roland Kasza drums Balázs Sudár lavta

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In 1997 they started playing music for their own pleasure, and formed as an ensemble only in the autumn of 1998. The name Canlar means ‘people, souls’ – a reference to the fact that it is the meditative aspects of Turkish classical music and singing that are important to them.

Part of their repertoire is drawn from own research, from manuscripts originating from the 16th and 17th centuries, and the rest from traditions that are still alive today. It is also important for them to perform Turkish song-poetry in Hungarian language. In their performances they use traditional Turkish and Middle Eastern instruments, including percussion, wind and plucked string instruments. As a modern master, their dear friend, so aptly put it: the deep thunder of the drum represents the Earth that carries us all on its back. The rhythm and melody of the plucked string instruments evokes humankind walking on the back of the Earth. The ethereal sound of the flute is the soul that floats above the Earth and crowns the whole work.

Judit Jablonkay ney

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terms of its text, which is mostly drawn from the poems of the founder, Mevlânâ, and contains details referring to enlightenment and union with God. There are only a few dozens of such ritual compositions in the history of Ottoman music. One of the earliest known examples is Köçek Mustafa Dede’s work, written in Bayati maqam scale, which might also have been performed in the Mevlev monastery in Pécs during the Ottoman occupation.

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KÁJONI CONSORT / RO

Era di Maggio Sung Love Poetry and Instrumental Music from the 16–18th Centuries

miercurea ciuc early music festival

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13 July / Mikó Castle, Northwestern Bastion Hall / 17.30

Anon. (c. 1510): Era di Maggio Gasparo Zanetti (1600?–1660): Ballo di colla – La bella pedrina Estienne du Tertre (16th c.): Branle simple Anon.: Saltarello La barca del mio amore Giovanni Ghizzolo (c. 1580–c. 1625): O amante (Madrigali et Arie, Libro primo, Venice, 1609) Claudin de Sermisy (c. 1490–1562): Tant que vivray Sebastian Festa (1490-95?–1524): L’ultimo dì de Maggio (Libro primo de la Croce, Rome, 1526) Claudin de Sermisy (c. 1490–1562): Secourez moy ma dame D’ou vient cela, bella (lyrics: Clément Marot, 1496–1544) Tielman Susato (c.1500–c. 1560): Bergerette Dont vient cela

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Giorgio Mainerio (c. 1535– 1582): La Parma – Saltarello (Il primo libro de balli, Venice, 1578) Claudin de Sermisy (c. 1490–1562): O joly bois Clément Janequin (c. 1485–1558): Ce Mois de May Giovanni Ghizzolo (c. 1580–c. 1625): Vaghe faville (Madrigali et Arie, Libro secondo, Venice, 1609) Giorgio Mainerio (c. 1535–1582): La Luandara Gagliarda (Il primo libro de balli, Venice, 1578) Bálint Balassi (1554–1594): Mindennap jó reggel (Joannes Kájoni, 1629–1687: Cantionale Catholicum, Șumuleu Ciuc, 1676) Ha ki akar látni – Alia (Jacob Regnart, c. 1540–1599, Vietoris Manuscript, c. 1670)

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The evocation of the beauty of nature is an inexhaustible source of inspiration for artists of all ages. It has played an important role in the daily life of humankind, and artists have often used various symbols from the flora and fauna to depict nature. Love, affection for nature, the beauty of rural life and the way of life of ordinary people are all reflected in the works in which composers reveal their feelings and thoughts about the landscape.

The programme of the ensemble is linked to the rebirth of nature, the expectation of spring, where the renewal of trees and nature as a whole is being revealed to our spiritual eyes.

In the vocal pieces that welcome spring, both the lyrics and the musical motifs emphasise the choice of themes.

The programme includes secular genres of the 16th and 18th centuries (chanson, madrigal, frottola) as interpreted by wellknown poets (Clément Marot, Bálint Balassi, Pál Esterházy),

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Pál Esterházy (1635–1713), sung poems (melody: the Vietoris Manuscript, c. 1670): Egy sólyom madár – Galiarda Egy kis karvaly madárról – Alia Az kikeletről (Jacob Regnart, c. 1540–1599) Palas s Ester kedves tánca

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Csaba Egyed percussion, voice

Éva Gyulai-György (artistic director) viola, recorder, voice

Gábor Hermány recorders, voice

Lajos Ilyés recorders, percussion, voice

Erzsébet Kovács voice

Emese Lőrincz recorders, voice

Ida Oláh Román cello, voice

Katalin Veress

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percussion, voice

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complemented by the popular instrumental music of the period, from Codex Vietoris which has been preserved in the library of the Esterházy family. The works of one of the greatest French composers of the time, Claudin de Sermisy, who created mainly in the new genre of chanson, the so-called Parisian chanson, are also part of the programme.

Pál Esterházy is one of the most versatile figures of 17th century Hungarian history and culture. His descriptive works are considered the most successful of his poems, in which we often encounter the symbolism of the bird (nightingale, eagle, cuckoo, lark, sparrowhawk). The programme presents a selection of these. The poem Palas s Ester kedves tánca (Palas and Ester’s favourite dance, anagr. Esteras Pal = Pál Esterházy) is a description of an old Hungarian dance song, in which Esterházy’s outstanding musical education and his excellent sense of form also become evident.

The Kájoni Consort early music ensemble was founded in 1988, but a few of its members had also been playing in the Erdővidéki Camerata ensemble; therefore they are among the first ensembles from Transylvania to play Renaissance music.

In addition to the musical pearls of the European Renaissance, they often play the music of Transylvanian composers as well, especially the ones noted down by Joannes Kájoni. The ensemble has had several performances in Romania and abroad and has been a regular participant of various early music festivals in Romania. They often play in Transylvanian castles, in Hungary, at cultural events, exhibitions and church events. Since 2011, they have organised the Early Music Meeting at the castles Daniel and Kálnoky with the aim to bring together Transylvanian amateur early music and dance ensembles and to make the castles attractive to the general public. They try to bring the music of the old times also to the more remote localities. https://www.facebook.com/Kájoni-Consort-110083592414412

CODEX / RO

La Pastorella 13 July / Cinema Csíki Mozi, Petőfi Stage / 19.00

Jacob van Eyck (c. 1590–1657): Engels Nachtegaeltje (Der Fluyten Lust-hof, Amsterdam, 1649) Antonio Vivaldi (1678–1741): La Pastorella, concerto in D major, RV 95 Allegro – Largo – Allegro

Antonio Vivaldi (1678–1741): La Notte, concerto for bassoon, strings and basso continuo in B flat major, RV 501 Largo, Andante molto – Fantasmi (Presto) – Presto – Il Sonno (Andante molto) – Sorge l’Aurora (Allegro) Antonio Vivaldi (1678–1741): Concerto for 2 flutes, strings, and basso continuo in C major, RV 533 Allegro – Largo – Vivace

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Antonio Vivaldi (1678–1741): La Notte, concerto for flute, strings and continuo in G minor, RV 439 Largo, Andante molto – Fantasmi (Presto, Largo) – Presto – Il Sonno (Largo, Allegro)

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Antonio Vivaldi (1678–1741): Sonata in A minor for recorder, bassoon, and basso continuo, RV 86 Largo – Allegro – Largo cantabile – Allegro molto

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Csaba Adorján viola

Ignác Csaba Filip (artistic director) recorders, flutes

Éva Kovács violin

László Kovács violin

Zsombor Lázár cello

Éva Szabó recorders, flutes

Árpád Szőgyör double bass

Guest artists:

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Zsombor Filip (Sfântu Gheorghe) arciliuto

miercurea ciuc early music festival

Gerwald Maximilian Braisch

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(Cisnădie) bassoon

Orsolya Ványolós (Miercurea Ciuc) harpsichord

The theme of the festival almost obliges to offer a taste of works about nature composed by Antonio Vivaldi. Before presenting five representative Baroque works, the concert begins with the masterful The Nightingale by Jacob van Eyck. The concerto La Pastorella evokes a perfect harmony, the idyllic state of nature.

The Sonata in A minor delights us with its dialogue, the virtuoso duel of the solo instruments. Two works, both entitled La Notte, dedicated to two different instruments – one for flute and orchestra, the other for bassoon and orchestra – introduce us to the mysterious, sometimes frightening atmosphere of the night. The last work presented, a concerto composed for 2 flutes and orchestra, brings back the idyllic atmosphere of La Pastorella from the first part of the concert.

The Codex early music ensemble was founded in 1996 by music teachers and students of the Transilvania University of Brașov.

Their main goal is to offer an authentic and lively performance of the Hungarian (especially Transylvanian) and European music from the 17th–18th centuries using period instruments.

In recent years, the ensemble has performed mainly Hungarian, especially Transylvanian music included in the Codex Caioni, Apponyi Manuscript, Codex Vietoris and the Sfântu Gheorghe Manuscript as well as adaptations from the Ádám Pálóczi Horváth and István Mártonffy Manuscripts. The 17th18th century works, brought to life with a unique performance style, address the people of the present, covering a wide range of emotions.

The most important performances of the ensemble include those at the Miercurea Ciuc Early Music Festival, the Valley of Arts in Hungary, the George Enescu Festival, the Early Music Festival in Bucharest and the International Chamber Music Festival in Brașov. www.codexensemble.ro

FLAUTO DOLCE / RO

Musica, natura, amore 14 July / Cinema Csíki Mozi, Petőfi Stage / 19.00

Gottfried Reiche (1667–1734): Fanfare Girolamo Fantini (1600–1675): Sonata detta del Niccolini (1638) – Balletto detto Lunati (1638) Andreas Hammerschmidt (1611–1675): Die Kunst des Küssens (1642)

William Williams (?–1701): Trio Sonata “In Imitation of Birds”, op. 1, no. 6 (London, c. 1700) Adagio – Allegro – Grave – Allegro Franz Pfeifer (fl. the first third of the 19th c.): Tartózkodó kérelem (Hat magyar énekek Csokonai Vitéz poétától, 1818) Josef Bengraf (1745–1791): Saltus Hungaricus (1790) Georg Philipp Telemann (1681–1767): Concerto TWV 43:D7 (1720) Largo – Vivace – Siciliano – Vivace

flauto dolce

Alessandro Scarlatti (1660–1725): Mio tesoro per te moro

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Johann Kaspar Kerll (1627–1693): Capriccio Sopra il cucù

Johann Sartorius (1712–1787): Guter Sämann, guten Samen

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Zoltán Majó (artistic director) recorders

Mária Szabó recorders

Noémi Miklós harpsichord, organ

Mihaela Maxim soprano

Guest artists: Gábor Hegyi (Köln) Baroque trumpet

Gerwald Maximilian Braisch

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(Sibiu) Baroque bassoon

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The collaboration between Gábor Hegyi from Cologne and Flauto Dolce from Cluj-Napoca started in 2019. Since then, they have had several successful concerts. When putting together the programme, they had to take into account the very tiring technique of the Baroque trumpet. The composers of the Baroque era already adapted to this characteristic: for example, in a work in four movements, the slow third movement was written without the trumpet or, in a difficult and long movement of the so-called trio, the trumpet is silent so that the musician can rest. The so-called “loud” Baroque trumpet had to be accompanied by a corresponding bass instrument.

They chose the Baroque bassoon, thus balancing the sound of the ensemble. The selection of works was guided by the theme of the Festival. At the same time, they tried to make their programme as colourful as possible. From a temporal point of view, they have included music composed in a time span of less than 100 years (Baroque era). It is worth noting that Georg Philipp Telemann’s TWV 43:D7 Concerto is played by very few Baroque trumpeters in the world because of its very high notes.

The Flauto Dolce ensemble from Cluj-Napoca was founded in 2000 at the initiative of Zoltán Majó. The ensemble pays great attention to the cultivation of Hungarian early music, playing on copies of original Baroque instruments. In the course of its 22 years of activity, the ensemble has performed in more than 475 concerts, made various radio and TV recordings, participated in festivals and released several CDs. Partly thanks to the collaboration with the Romanian Cultural Institute – ICR Bucharest, the ensemble has toured abroad in Austria, Spain, Italy, France, Israel, Switzerland, Germany, Slovenia, Serbia, Slovakia and Hungary, and has given concerts in various Romanian cultural centres in Europe.

Flauto Dolce was a partner in a joint project involving ensembles from Italy, Slovenia and Romania to promote Baroque music from the three countries under the European Union’s Culture

Programme 2007–2013, and participated in the UNESCO Cultural Heritage – A Bridge Towards a Shared Future project.

In 2014, the ensemble participated as a special guest at the 5th International Early Music Seminar held in Tel Aviv. https://www.facebook.com/ensembleflautodolce

flauto dolce

Maximilian Braisch began studying bassoon in his hometown Berlin, and completed his high school and university studies mostly in Sibiu and Cluj, and since 2013 in Freiburg and Trossingen. He has specialised in historical instruments with Katrin Lazar, Christian Beuse, Javier Zafra, etc. His work as an ensemble musician has reached its heights in the bands Trifoi and Duo Marmor and in orchestras playing on period instruments (e.g. Les Arts Florissants, Hofkapelle Stuttgart, La Banda) as well as in the Mannheimer Philharmoniker.

He is currently cantor and musician at the Evangelical Church of Cisnădie.

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Gábor Hegyi studied at the Bartók Béla High School of Music (trumpet) in Budapest, at the Staatliche Hochschule für Musik in Trossingen (Baroque trumpet, teacher: Horst-Dieter Bolz), at the Royal Conservatoire The Hague (Baroque trumpet, teacher: Susan Williams). He has given concerts as chamber musician and soloist in Argentina, Algeria, Germany, France, Italy, Poland, Portugal, Romania, Switzerland, Tunisia and Hungary (Bach Ensemble, Concerto con Anima, Concert Royal Köln, Elbipolis Barockorchester Hamburg, La Stagione Frankfurt, Akademie für Alte Musik Berlin, Concerto Köln). https://www.gaborhegyi.de/

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Crafting Recorders – The von Huene Workshop, Inc. Documentary film screening 14 July / Cinema Csíki Mozi, Petőfi Stage / 20.00

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(USA, 2020) 33 min.

Videography: Samuel Gossner – Host: Eric Haas

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The documentary shows in details all the stages of the process of producing recorders: wood selection, turning and boring, broaching and carving, drilling, finishing and testing. It also presents the restoring of rare historical recorders.

The von Huene Workshop was founded in 1960 by Friedrich von Huene, a pioneer in the reproduction of historical woodwinds. He began producing his own recorders in 1960 and was awarded a Guggenheim Fellowship (1966) for a comparative study of historical woodwinds, becoming one of the first makers to produce copies of original 18th century recorders. Today the workshop is renowned for making and repairing some of the finest recorders available in the world.

The screening will be followed by a piece played live by Mária Szabó (Flauto Dolce) on a von Huene alto recorder.

(Rousseau) 15 July / Szent Ágoston Church / 19.00

Jean-Philippe Rameau (1683–1764): Ouverture qui peint le debrouillement du Chaos et le choc des Élémens lorsqu ‘ils sont séparés / Zaïs, ballet heroïque (1748) – fragment Georg Philipp Telemann (1681–1767): Ouverture in C major, Wassermusic (Water Music), TWV 55:C3 – fragments Menuett: Der angenehme Zephir (The Pleasant Zephyr) Gigue: Ebbe und Fluth (Ebb and Flow) Canarie: Die lustigen Boots Leute (The Merry Boat People) Georg Friedrich Händel (1685–1759): Concerto grosso in G minor, HWV 324 Largo affetuoso – A tempo giusto – Musette – Allegro Jean-Féry Rebel (1666–1747): Ramage – Rossignolo from Les Elémens (1737) – fragment Christoph Nichelmann (1717–1762): Sinfonia in F major Allegro – Andante – Presto Christoph Willibald Gluck (1714–1787): Air de Furie from Orfeo ed Euridice (1762) – fragment

baroque festival orchestra

“What moves away from nature no longer moves us”

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BAROQUE FESTIVAL ORCHESTRA / RO

Henry Purcell (1659–1695): See, even night from The Fairy-Queen (1691) – fragment

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Concertmaster:

Ulrike Titze violin (Dresden) Violin I:

Koppány Hunyadi (Miercurea Ciuc),

Dávid Csibi (Târgu Mureș)

Előd Gábor (Brașov) Violin II:

László Kovács (Miercurea Ciuc)

Éva Magdolna Kovács (Miercurea Ciuc)

Csenge Orgován (Bremen/Budapest) Viol:

Csaba Adorján (Miercurea Ciuc)

miercurea ciuc early music festival

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Gabriella Tankó (Brașov)

Attila Suciu (Oradea) Cello:

Zsombor Lázár (Miercurea Ciuc)

Zsófia Bartha (Sfântu Gheorghe) Double bass:

Árpád Szőgyör (Miercurea Ciuc) Flute:

Éva Szabó (Miercurea Ciuc)

Ignác Csaba Filip (Sfântu Gheorghe)

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The most important task of music is to “awaken all kinds of emotions in people” (Athanasius Kircher, 1650). Music should “stir the heart of the listener” (Michael Praetorius 1612). Its lifelike imitation of human emotions such as love, suffering, joy, anger, pity, fear, insolence or amazement is intended to arouse the feelings of its audience.

Composers have been inspired by countless myths, stories and philosophical treatises from antiquity about the miraculous effects of music and its power to teach and to heal. Orpheus, for instance, was able to soften the gods of the underworld with his song, Amphion could set even stones in motion with the sound of his lyre, music calmed an angry youth, and the power of music drove another into madness. Plato and Aristotle believed that the secret of music’s powerful effect lay in its imitation of voices and human emotions. For them, the art of music and sound was an imitative art; nothing was more natural than imitation.

This year’s orchestral programme focuses on this theme in a special way. Two sorts of imitation weave into each other: the sounds and noises that we hear in nature, such as ocean waves and bird calls, and the portrayal of our soulful, passionate human nature. It is the responsibility of the musicians to understand how the various aspects of the composition – such as choice of

Maria Petrescu (Bucharesti)

Sándor Gáti (Oradea) Horn:

Liviu Săvuță (Ploiești)

Szilárd Kelemen (Târgu Mureș) Harpsichord:

Paul Cristian (Brașov) Percussion:

Roland Kasza (Budapest)

Judit Jablonkay (Budapest)

Ámos Jónás (Budapest)

Ádám Tekula (Budapest)

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The Baroque Festival Orchestra consists mainly of musicians from Romania playing Baroque instruments, widely acclaimed in professional circles, some of whom perform abroad. Formed specifically for the Miercurea Ciuc Early Music Festival at the initiative of artistic director Ignác Csaba Filip, the orchestra performed for the first time in 2010, following a previous collaboration between the violinist Ulrike Titze and the Miercurea Ciuc Chamber Orchestra. The initiative, which comes as a novelty at national level, seeks to integrate instrumentalists from various smaller chamber orchestras for a high-quality concert. The contributing musicians and concertmaster Ulrike Titze guarantee an exceptional musical event.

Ulrike Titze studied violin at the Dresden Music Institute in her hometown. This was followed by four years of collaboration with the Staatskapelle in Weimar. Since 1986, she has been playing exclusively the Baroque violin. A founder member and concertmaster of the Dresdner Barockorchester, she has taught Baroque violin for several years at the Dresden Music Academy.

Within the framework of the International Bach Academy of Cluj-Napoca, she has worked with music academy students from Romania and Ukraine on several occasions. Being devoted to chamber music, above all with the Grundmann-Quartett, she collaborates with various orchestras and ensembles.

Oboe:

baroque festival orchestra

instruments, harmony, rhythm, tempo, articulation, dynamics and ornamentation – feed into each other, in order to recognise the imitation that is intended and to express it with feeling.

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Children’s Renaissance Day 16 July / Mikó Castle / 11.00–15.00

Artistic workshops, playhouse, skill games, atmosphere from the period of King Matthias Corvinus, fighting demonstration and Renaissance games for children and adults alike.

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Programme

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11.00–13.00 artistic workshops With the Pörgettyű Népi Játszóház Association, children can create period-jewels and toys from wool, pearls, wood, clay.

With the Talentum Foundation, children can create instruments (cornets, drums) and Renaissance tiaras, wooden toys, bracelets, and various toys evoking the time of King Matthias Corvinus.

From 14.00, members of the Arany Griff Rend will make a demonstration of sword and lance tactics from the period of King Matthias Corvinus, duels will make their performance even more exciting. They will also demonstrate the use of our ancient weapon, the bow. As a novelty, they will present aristocratic armours and shield racks.

11.00–14.00 Renaissance skill games: beating of eggs, nut cracking, longlegs, spitting of beans, family doddering, grass hockey, swine herder’s game, apple biting, spear throwing and many other. The lucky ones can earn period-money, which can be exchanged for various prizes.

IntertWINEd with Nature wine tasting, with the Vinkli wine gallery** 16 July / Mikó Castle, Weapons room / 16.30

The tasting will focus on wines “created by nature”, and will shed light on what makes a wine natural or organic, the conditions that the grapes must meet, the means to apply and the means to avoid when wine is made by the work of active hands – wine that is full of life and that changes constantly even after bottling. The world of natural wines is a very special one; the experience will be different from the aromas and flavours you are used to. Preparation for consumption is particularly important, and storage and refrigeration are also crucial for a perfect wine experience; which is why this will be the subject of a presentation by Szilárd Farkas, manager of the Vinkli wine shop.

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Registration is required to participate in the wine tasting.

To register, please call: + 40–753–055311.

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CARMINA RENASCENTIA / RO

Flowers in Music

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Floral Symbolism in 16–17th Century European Melodies

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16 July / Mikó Castle / 18.00

Marian hymns: Ave spetiose Vertamus nunc cantica Virgo preclarissima Ave candens thronus (The Gradual of Gyulafehérvár – Graduale et Antifonale bohemicum et hymni latini, manuscript, 1548) William Brade (1560–1630): Der alte Hildebrandt Die wohlriechende Violen (Newe auserlesene Branden, Intraden, Mascheraden, Baletten, 1617)

John Dowland (1563–1626): White as Lilies (The Second Booke of Songs or Ayres, London, 1600) William Brade (1560–1630): Näglein Blumen Der Pilligrienen Tantz John Dowland (1563–1626): Now, Oh Now I Needs Must Part (First Booke of Songs or Ayres, London, 1597) William Brade (1560–1630): Türkische Intrada Der Satyrn Tantz Claude Goudimel (1514–1572) – lyrics: Pierre Ronsard (1524–1585): Bonjour mon coeur (Neufiesme Livre de Chansons, Le Roy & Ballard, Paris, 1559–1564) William Brade (1560–1630): Coranta – Allmand (Newe auserlesene Paduanen, Galliarden, Cantzonen, Allmanden und Couranten, Hamburg, 1609) Endre Deák (1952–2012) – József Babrik (1949–1974): Virágom, virágom Hej, ladilom

carmina renascentia

The knowledge and use of the language of flowers was part of the Renaissance culture. The musical literature of the 16th and 17th centuries is abundant in sung and instrumental music that carries floral symbolism, either in the adjectival structures of the text or in the titling of the work. The programme is a compiled selection of such melodies. In the Latin Marian hymns, we have “pure white lilies”, in the title notes of William Brade’s dance pieces we have “richly scented violas” and “marigolds”. In John Dowland’s songs, the lovely lady is “white lily-faced” and in Ronsard’s poem, “sweet spring’s new flower.”

This year marks 10 years since Endre Deák left us. At the end of the programme, two of the flower songs he arranged for his friend József Babrik will be sung in his memory.

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William Brade (1560–1630): Allmand (Newe auserlesene Paduanen, Galliarden, Cantzonen, Allmanden und Couranten, Hamburg, 1609)

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Alfonz Jónucz tenor, viola da gamba, recorders

Csilla Kind recorders, percussion

Ildikó Keresztesi (artistic director) soprano, recorders, harp

Tünde Lőrincz alto, drum

Szilveszter Lőrincz bass, viola da gamba

János Vezér

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recorders, crumhorn

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The Carmina Renascentia early music ensemble was founded in 2012 in Carei, a historic small town in the north-west of Transylvania. It continues an early music spiritual workshop activity started more than 40 years ago by Endre Deák (†2012) in 1977. Its members performed in the former Collegium ensemble and thus played an active role in the development and life of the Transylvanian early music movement.

The ensemble mainly performs 16th–17th c. Transylvanian, Hungarian and Western European sacred and secular music on period instruments. They consider it their mission to create a musical bridge that brings the instrumental and vocal music found in domestic or Western old publications closer to the modern musical taste, reviving it through historically accurate performances. The ensemble has proved in several places and on several occasions, both within the country and abroad, that the early music they perform can be indeed popular and it has its place and conveys values for today’s audience. Since 1980, the members of the ensemble have been regular guests at the Miercurea Ciuc Early Music Festival.

MUSICA HISTORICA / HU

“Wait Me, My Bird” Sung Love Poetry in the 17th Century Hungary 16 July / Mikó Castle / 19.30

Jövel az táncban vélem, én szép társom (Codex Fanchali Jób, 1595–1608) Vagyon-é, szívem, szándékodban (Teleki Songbook, c. 1655–1660) Mutata Vénus egy almát (Vásárhelyi Songbook, c. 1672) Ej, ha tündérré lehetnék (Songbook of Samu Szabó, first half of 18th c.)

Szólalj meg már egyszer hozzám, én édes sólymocskám (Kelecsényi Songbook, 1723–1765) Az rigónak ő szólása engem vigasztal (Manuscript from the Zichy Archive, the beginning of the 17th c.)

Kevés szóval végyed jóakaratomat (Vásárhelyi Songbook, c. 1672) Menj el, madár, menj el (Codex Mátray, after 1677) Çöğürcü Mehmet (?): Yelteme (Ali Ufki: Mecmua-i saz ü söz, c. 1651)

Corant (Muzyczne Silva Rerum, c. 1660) Búm elfelejtésére (Vásárhelyi Songbook, c. 1672) Thurson (?): Currenta (Codex Caioni, 1634–1671) Mit vétettem, idegenért hogy megutálál? (Vásárhelyi Songbook, c. 1672) Megjelentem panaszomat (Songbook of György Szentsei, 1704) Ifjúság, mint sólyommadár (Codex Mátray, after 1677) Hajnal vitorláján (Teleki Songbook, c. 1655–1660)

musica historica

Az erős mágneshez hasonlatos sólymom (Codex Borbély, c. 1630)

l “wait me, my bird”

Életemnek, víg kedvemnek fényes csillaga (Songbook from Komárom, 1693)

Chorea Sponsae-Proportio (bridal dance, Codex Vietoris, c. 1670) Hallod-é, pendítsd az lantot (Vásárhelyi Songbook, c. 1672)

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l 9–17 july 2022 miercurea ciuc early music festival

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17th-century Hungarian love poetry was written mainly by unknown authors. These poems reflect both Renaissance and Baroque literary effects and were mostly recorded in handwritten songbooks. These songs were known primarily in the noble courts because not even the most popular songs were printed in their own age, only later in chapbooks in the 18th century; then they became public domain and part of the public poetry tradition. Although the songs spread only in personal networks and their lyrics varied constantly, these texts had a powerful effect on the Hungarian poets and on folklore. The ensemble collected a “bouquet” of these ‘flower songs’. Besides the symbolism of flowers, the subtle network of the bird motifs (falcon, swan, blackbird etc.), the appearance of mythological figures is very important, and so is the sincerity of words referring to personal fate (joy, sadness, farewell and fidelity).

The melodies of these songs and the instrumental pieces come from 17th-century Hungary sources, and partly from Polish and Turkish manuscripts. Their joint performance presents the mixture of Central European musical fashions, in which the Renaissance, Baroque and oriental musical motifs complement one another.

The tunes of some songs were preserved in the Transylvanian, Moldavian and Slovakian folklore. The programme concludes with a wedding song combined with dance tunes. The ensemble had the privilege to play this adaptation together with their dear old masters, Tamás Kobzos Kiss (1950–2015) and Zoltán Kátai (1954–2020). The programme was already presented in Miercurea Ciuc, in 2011, and has been published as the eighth CD of the ensemble in 2022.

The Musica Historica ensemble was founded in Budapest in 1988. In addition to classical and early music, its members also play Hungarian and Eastern European folk music, which decisively shaped their style. Their work relies on thorough research

Rumen István Csörsz (artistic director) voice, lute, Baroque guitar, cobza, tambura, flute, bagpipe

Roland Kasza harpsichord, percussion

Réka Palócz soprano, harp, Jew’s harp, bass cornamuse

Valéria Pribay viola da gamba, kemençe

Zoltán Széplaki voice, recorders, Renaissance and Baroque flutes, gemshorn, Turkish zurna

Márton Szilágyi

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violin

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of the musical culture of the 15th–19th centuries. Nevertheless, they sustain that the scientific background cannot replace artistic invention, as early music is a genre open towards experimentation.

The ensemble’s repertoire includes mainly Hungarian and Central European music from the 11th–19th centuries; besides, they also play the works of Western European composers from the Medieval, Renaissance and Baroque periods as well as Turkish and ancient Greek music. The ensemble has performed on almost 1,400 occasions at prestigious festivals in Hungary and abroad, and has been giving concerts in Transylvania for more than twenty-seven years. They have eight individual CDs and contributed to two CDs of Tamás Kobzos Kiss. Since 2008, the members of the ensemble have been masterclass trainers and lecturers at the Early Music Summer University in Miercurea Ciuc. www.musicahistorica.hu

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ERICH TÜRK / RO

The Cuckoo, the Shepherds and the Storm

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17 July, Roman Catholic Church from Frumoasa / 11.00

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Georg Muffat (1653–1704): Toccata Settima (Apparatus Musico-organisticus, Salzburg, 1690) Johann Kaspar Kerll (1627–1693): Capriccio sopra il cucù Antonio Vivaldi (1678–1741): Spring, RV 269 (transcription for organ) Jean Claude Daquin (1694–1772): Le Coucou Justin Heinrich Knecht (1752–1817): Die durch ein Donnerwetter unterbrochene Hirtenwonne – eine musikalische Schilderung auf der Orgel (The joy of the shepherds interrupted by a storm – a musical tale for organ, Darmstadt 1794) Johann Sebastian Bach (1685–1750): Schafe können sicher weiden (The lambs may graze in safety, BWV 208/9, transcription for organ)

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l the cuckoo, the shepherds and the storm

Born in Cluj-Napoca (Romania) in 1972, Erich Türk studied organ at the Gheorghe Dima Academy of Music, in the class of Ursula Philippi, and in Vienna with Michael Rădulescu, harpsichord with Ilton Wjuniski and Gordon Murray, and has attended several harpsichord and continuo masterclasses abroad. Between 1995–1999, he was organist and choirmaster of the Evangelical Church of Mediaș. He currently teaches organ, harpsichord, instrumental and chamber music at the Gheorghe Dima Music Academy. As a soloist, he has performed with the Transylvania Baroque Ensemble, the Balkan Baroque Band and other ensembles in several European countries, in the USA and Israel. He has made radio, CD and TV recordings.

He is involved in research on early music and period instruments and has created the record label TransylvANTIQs, and also performs contemporary music. He won second prize and the audience award at the 2000 International J.S. Bach Organ Competition in Bruges.

Erich Türk (Romania)

erich türk

The programme comprises mostly pieces inspired by nature, i.e. with programmatic passages or even entirely programmatic pieces. A common element is the imitation of birdsong, most characteristically that of the cuckoo, as reworked by Johann Kaspar Kerll and Jean Claude Daquin, while in Antonio Vivaldi’s Spring we hear a symphony of the songs of many different birds species. Both Vivaldi and Justin Heinrich Knecht depict pastoral scenes characterised by idyll and gaiety, but in both cases these also contrast with the thunder of storms. Whereas in Vivaldi’s work only a few tableaux appear, Knecht’s piece is programmatic.

Here is the summary, as it appears on the title page: I. The happiness of shepherds expressed in joyful songs; II. The gradual approach of the storm, both through thunder and the oppressive air; III. The unleashing of the storm, in which the shepherd’s songs, turned into wails, are sometimes heard; IV. The gradual passing of the storm and the brightening of the weather, finally; V. Continuation of the previously interrupted, blissful shepherd songs.

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HORTUS MUSICUS / EE

Musical Highlights of Europe 17 July / Szent Ágoston Church / 20.00

miercurea ciuc early music festival

l 9–17 july 2022

Michael Praetorius (1571–1621): Suite from the Terpsichore collection (Wolfenbüttel, 1612) Thomas Morley (1558–1602): Now is the Month of Maying Anthony Holborne (c. 1560–1602): Almaine “The Honey-Suckle” Galliard “Heigh ho Holiday” Almaine “The Night Watch” Henry Purcell (1659–1695): I Spy Celia Sound the Trumpet Giorgio Mainerio (c. 1535–1582): Dances (Il primo libro de balli, Venice, 1578) Claudio Monteverdi (1567–1643): Chiome d’oro (Madrigali Libro VII, Venice, 1619) Giorgio Mainerio (c. 1535–1582): Dances (Il primo libro de balli, Venice, 1578) Claudio Monteverdi (1567–1643): 44

Zefiro torna e di soavi (Scherzi musicali, Venice, 1632) Juan del Encina (1468–1529?): Triste España Juan Arañés (?–1649): Un sarao de la chacona Juan del Encina (1468–1529?): Oy comamos y bebamos Anon. (Andalusia): La tricotea San Martin la vea (c. 1600)

hortus musicus

This programme is a cross-section of the repertoire of Hortus Musicus over half a century.

The Renaissance and Baroque Europe was a melting pot of different nations and their cultures. We are mistaken if we think that the lack of rapid communication and transport, so prevalent today, meant that different regions of Europe were isolated at that time. Music is a good example to prove the opposite. The works of the most famous composers spread across national borders. And although the weekly charts were not drawn, these resources reveal real hits which were known, sung and performed from Lisbon to Uppsala, from Venice to London. Just like today.

Michael Praetorius was one of the most known German musicians of his time, a prolific composer whose best-known work is the Terpsichore (1612) dance collection, which includes over 300 instrumental dances.

Anthony Holborne enjoyed the favour of rich patrons, among them the Secretary of State, Robert Cecil. His coeval colleagues appreciated him highly as a composer, but his work was forgotten almost immediately after his death.

Claudio Monteverdi in the prologue of his fifth madrigal book (1605), proposed to divide music into two categories: old, sixteenth century strict polyphony (prima prattica) and new, free, concert-like and sensitive style (seconda prattica). The brightest

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Arvo Pärt (*1935): Zwei Slawische Psalmen (Psalm 117, Psalm 131) Da pacem Domine With the participation of the Lux Aurumque Chamber Choir from Miercurea Ciuc

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Andres Mustonen (artistic director) violin

Anto Õnnis tenor, percussion

Tõnis Kaumann baritone, percussion

Riho Ridbeck bass, percussion

Olev Ainomäe shawms, recorders, duduk

Tõnis Kuurme curtal, rauschpfeiff, recorders

Valter Jürgenson trombones

Imre Eenma

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viola da gamba

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Taavo Remmel double bass

Ivo Sillamaa harpsichord, organ

examples of seconda prattica can be found in his late madrigal books (Libro VII/1619, Libro VIII/1638).

Henry Purcell was a singer at the Chapel Royal at a young age. At the age of seventeen he became the “composer of the royal court violins“. Later he worked as an organist at the royal court and in 1685 King James II appointed him harpsichordist to the royal court. His genius can be enjoyed in his songs, so masterfully composed for repeated bass melody and harmony.

The Habsburg Spain (“El Siglo de Oro”) was one of the strongest and most influential countries in the world. It was also a period of prosperity for Spanish music and thanks to seafarers, its influence extended to the New Continent, not to mention its closer neighbours Italy and France.

Arvo Pärt (*1935) is an iconic figure of Estonian culture and one of the most valuable and respected contemporary musical creators in the world. His work is wide-ranging and diverse, encompassing sacred, vocal and choral music. Even in his instrumental compositions one can feel a strong meditative, deeply spiritual thrill, which has its origin in archaic music, full of serenity and harmony.

Hortus Musicus, which gave its first concert in 1972, was founded at the initiation of Andres Mustonen, a violin student of the Tallinn State Conservatory at the time, making it the oldest continuously the oldest continuously working ensemble in its field in Eastern Europe and one of the few in the world with such longevity.

The music of Hortus Musicus is first and foremost (andoftenunlike their European colleagues) characterised by a creative and cliché-free approach to music that is distant in time, but not necessarily in essence. Never being in direct conflict with the socalled “authentic” or “temporally informed” performance style, Hortus Musicus has never considered it as an end in itself. Thus, the concerts and recordings of Hortus Musicus sound fresh, comprehensible and powerful – this is the living music of.

hortus musicus

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For half a century now, Hortus Musicus has been exploring and presenting European music from the 8th to 20th centuries in their programmes: Gregorian chants, organums, medieval liturgic drama, hymns and motets, the Franco-Flemish school, the Trecento-masters of Italy, the 16th century rigid polyphony, French chansons, Italian madrigals, frotollas and villanelles, a large amount of suites from Renaissance dances from all across Europe, early sonatas and large-scale secular works of Baroque composers of the 17th-18th centuries, the music of 20th century composers (often created especially for Hortus). The new music performed by Hortus Musicus conveys the same values that we appreciate in the earlier, more balanced music – the purity and clarity of form, harmony and beauty in simple things.

Hortus Musicus has given concerts in most European countries, the USA, Japan, Israel and the vast territory of the former Soviet Union, as well as performed at most major early music festivals.

They have recorded about 35 programmes for companies like Erdenklang, Musica Svecia, Forte and Finlandia Records. https://concert.ee/en/collectives/hortus-musicus/

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Local history tour with music to Șumuleu Ciuc 9. July

miercurea ciuc early music festival

l 9–17 july 2022

Departure point: The square in front of the Mikó Castle Departure time: 09.00 Itinerary: Mikó Castle, Miercurea Ciuc – Leliceni Street – Șumuleului Saddle – Șumuleu Mic Hill – Mary’s Garden of Șumuleu Ciuc – Miercurea Ciuc

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This half-day, medium-difficulty itinerary will take us to the cultural and religious sites of interest in the vicinity of Șumuleu Ciuc.

Leaving the town, we will arrive at the Triple Hill Altar, and then climb up to Șumuleu Mic Hill, to the chapels of Jesus the Sufferer, Salvator and Saint Anthony. Descending from the mountain, we will rest in Mary’s Garden, and visit the Joannes Kájoni exhibition.

During our journey, Lóránt Darvas, archaeologist of the Szekler Museum of Ciuc, will tell us about the legendary mountain, the chapels and the findings of the archaeological excavations.

The Concerto Spiralis and Camerata Naturalica early music ensembles will perform during the tour.

You will need comfortable shoes, a raincoat, water and snacks.

The tour is 9 km long, with a 200 m difference in altitude; the duration of the programme is approximately 6 hours. The tour is subject to registration. If you would like to participate, please call 0746–244235 by July 8, 12.00 p.m.

Co-organisers and partners: Szekler Museum of Ciuc, Mary’s Garden of Șumuleu Ciuc.

Local history tour with music – Saint Ladislaus thematic tour 16. July

István Botár, the archaeologist of the Szekler Museum of Ciuc, will tell us about the former chapel of Saint Ladislaus, old pilgrimage routes and King Saint Ladislaus. The bell tower and shrine next to the chapel ruins commemorate the patron saint of Frumoasa, and we will evoke the old times with music under the shelter of the shrine. Afterwards, the municipality of Frumoasa invites all music and nature lovers to a stew prepared in a cauldron.

On the way back to the village we recommend you to visit the Szekler Border Guard Memorial Center.

You will need a hat, water, hiking boots and a raincoat.

The route is 10 km long, with a 427 m difference in altitude; the duration of the programme is about 5 hours.

The tour is subject to registration. If you would like to participate, please call 0746–244235 by July 14, 12.00 p.m.

Co-organisers and partners: Szekler Museum of Ciuc, The Mayor’s Office of Frumoasa, Szekler Border Guard Memorial Center.

local history tours with music

Departure point: Frumoasa, Szekler Border Guard Memorial Center Departure time: 10.00 for hikers, 11.00 for those who request transport Route: Frumoasa, Szekler Border Guard Memorial Center – Kicsi Pogányhavas (Little Pagan’s Mountain) – Frumoasa

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14th Early Music Summer University in Miercurea Ciuc 10–15 July 2022 / Márton Áron National College (Miercurea Ciuc)

Renaissance ensemble masterclass (as second class) – Rumen István Csörsz (Hungary) Minstrel Club – Rumen István Csörsz (Hungary) Accompaniment on harpsichord: Zsuzsa Csengeri Kostyák (Romania), Amalia Erdős (Romania), Zsolt Garai (Romania) Collaborators: Elena Maria Șorban (Romania), Katalin Hanke (Romania) The organisers provide translation during the courses as needed.

early music summer university in miercurea ciuc

Optional courses available for all participants

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Organ – Ursula Philippi (Romania) Recorder, flute, chamber music – Zoltán Széplaki (Hungary) Canto – Réka Palócz (Hungary) Baroque violin – Piroska Vitárius (Hungary) Harpischord – Mária Fülöp (Switzerland) Viola da gamba and violone – István Csata (Cluj-Napoca) Choir – András Ványolós (Romania) Renaissance ensemble – Rumen István Csörsz (Hungary) Percussion in early music, percussion chamber course: musical games, improvisation, phrase-compilation – Roland Kasza and Balázs Sudár (Hungary)

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Masterclasses:

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14th early music miercurea ciuc early summer music university festivalin l 9–17 miercurea july 2022 ciuc l 10–15 july 2022

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Musical activities for the little ones, with Rebeka Ádám 12–14 July / Zengő Tér Cultural Center / daily between 10–13

This year, for the first time, younger children will also have the opportunity to get involved in singing and music-making at the Early Music Summer University. They will have the opportunity to learn children’s songs and tunes related to nature, flora and fauna. We will introduce children to the world of early music through rhythm instruments, recorders and interactive stories.

Our activities will be enriched with fun children’s games. We welcome all kindergarteners and elementary school children who want to sing, play and make music in the Zengő Tér Musical Space. Address: 35 Petőfi Street.

The participation fee is 40 lei, registrations can be made in person at the secretariat of the Cultural Center of Harghita County, on weekdays, between 9 am and 3 pm, or by calling 0746-244235. The number of places is limited.

Teachers URSULA PHILIPPI (Romania) – Organ

early music summer university in miercurea ciuc

He was born in Budapest in 1972. Already as a child he was interested in early woodwind instruments. He participated in several international recorder masterclasses under the direction of Anneke Boeke, Peter Holtslag and Walter van Hauwe. He earned his first music diploma (recorder) at the Early Music Faculty of the Conservatory in Szeged (Hungary), and his second one (Baroque flute) in 2002 at the Liszt Ferenc Academy of Music in Budapest, where he obtained his DLA as well. His professors were László Czidra, László Lőrincz, Vera Balogh and Ildikó Kertész. Since 1998, he has been teaching at the Bartók Béla Music Institute of the Miskolc University and at the Bartók Béla Secondary School of Music in Miskolc. He is a regular jury member of regional, national and international competitions and has taught at several early music masterclasses. Member of the Musica Historica ensemble since 1990, he has also worked with other ensembles. He has performed in more than a thousand concerts and contributed to 22 music records.

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ZOLTÁN SZÉPLAKI (Hungary) – Recorder, flute, chamber music

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Graduate of the Ciprian Porumbescu Academy of Music in Bucharest, she worked as a professor at the Gheorghe Dima Academy of Music of Cluj-Napoca, then decided to withdraw from the educational field in 2015. The artist has won several prizes in international and national competitions. Her repertoire includes organ music ranging from the Renaissance to the musical avant-garde. Her double CD Organ Landscape Transylvania won the German Record Critics’ Prize and her CD of a performance of Hans Peter Türk’s St Matthew Passion won the Supersonic Award of the Luxembourg magazine Pizzicato. Ursula Philippi has recently devoted special attention to the preservation of the old organs of Transylvania.

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14th early music miercurea ciuc early summer music university festivalin l 9–17 miercurea july 2022 ciuc l 10–15 july 2022

RÉKA PALÓCZ (Hungary) – Canto

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She graduated in Győr as a student of Judit Németh, specialising in solo singing. Later she improved her craftsmanship as a participant of the masterclasses of Júlia Hamari, Anna Reynolds and Ilona Adorján.

For several years, she was the vocal teacher of the Bartók Béla Choir of the Eötvös Lóránd University, Budapest. As the soloist of this choir, she participated in several local and international concert tours. She has been a member of the Musica Historica ensemble since 1994. She performed several chanson and aria recitals in Hungary, Switzerland and Germany. Currently she is a teacher at the Hermann László Secondary School of Music in Székesfehérvár, Hungary. Since 2001, she has been teaching classical singing; among her students one can find not only classical but also folk singers and actors/actresses. Since 2010, she has been teaching singing at the Department of Folk Music, Liszt Ferenc Academy of Music. Her main fields of interest include treating phonation problems and working out the given, natural voice.

In her teaching, she lays great emphasis on the harmonisation of text and musical accents.

PIROSKA VITÁRIUS (Hungary) – Baroque violin

The artist graduated as a violin teacher from the Liszt Ferenc Academy of Music in 1994. She has taught Baroque violin and chamber music at the University of Szeged and gained her primary teaching experience at the Music School of Ferencváros and Józsefváros of Budapest. She performed in the Erkel Ferenc Chamber Orchestra, the Concerto Armonico and Musica Profana ensembles, and was a founding member and concertmaster of the Orfeo Orchestra. Currently she is the concertmaster of the Savaria Baroque Orchestra, member of the Tercina, and a contributor to several other early music formations. She is also a teacher at the Ward Mária Music Secondary School in Budapest, the Castle Festival and Course in Gödöllő and the Renaissance and Baroque Week in Győr. She is the soloist of several concerts and CD recordings.

Former student of the Nagy István Secondary School of Arts and Music in Miercurea Ciuc, he graduated as a contrabass player from the Gheorghe Dima Academy of Music of Cluj-Napoca. Currently, he is a member of the Transylvania State Philharmonic Orchestra. As an autodidact, he started to play early music and the viol (viola da gamba), studying later under the direction of Ilse László-Herbert. He attended masterclasses in Switzerland, studying viol with Guido Balestracci and basso continuo with Pierre-Alain Clerc and participated in several masterclasses with chamber music and solo repertoire under the guidance of Bruno Cocset, Hervé Douchy, Mira Glodeanu, Jan De Winne and

early music summer university in miercurea ciuc

ISTVÁN CSATA (Romania) – Viola da gamba

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She started her university studies at the Gheorghe Dima Academy of Music in Cluj-Napoca, majoring in music pedagogy, where she also continued her piano studies. At the same time, she manifested interest in early music by studying harpsichord under the guidance of Katalin Botár and Erich Türk. In 2004, she obtained an Erasmus scholarship at the Trossingen University of Music (Germany) where she continued her harpsichord studies under the guidance of Franz Dieter Weitz and Marieke Spaans. In 2001, she earned the master´s degree in harpsichord at Schola Cantorum Basiliensis (Switzerland), under the guidance of Jörg-Andreas Bötticher. Between 2011 and 2015, she attended masterclasses in Leipzig, where she was taught harpsichord by the renowned harpsichordist Nicholas Parle, meanwhile she taught harpsichord and basso continuo. She continues her professional activities as a music teacher, harpsichordist and organist in Basel. During her study years, she attended several courses with renownedprofessors such as Jesper Christensen, Jacques Ogg, Nicholas Parle, Marieke Spaans, Bob van Asperen, Miklós Spányi and Franz Dieter Weitz. As a soloist, she has participated in many music festivals and collaborated with chamber music ensembles from Switzerland, Hungary, Austria, Germany and Romania.

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MÁRIA FÜLÖP (Switzerland) – Harpsichord

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Françoise Lengellé. He has collaborated with early music ensembles from Romania and abroad, such as Ausonia (Brussels), Il Gardellino (Brugge), Chanterelle (Cluj-Napoca). He is the founding member of the Baroque music ensembles Fonte di Gioia and Sectio Aurea. The artist is regularly invited to several national and international concerts with solo and chamber music performances.

14th early music miercurea ciuc early summer music university festivalin l 9–17 miercurea july 2022 ciuc l 10–15 july 2022

ANDRÁS VÁNYOLÓS (Romania) – Choir

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Born in Gheorgheni, Romania in 1978, he began his studies at the local Salamon Ernő High School and went on studying music pedagogy at the Gheorghe Dima Academy of Music in Cluj-Napoca. He became interested in sacred music and later became an active member of the Renaissance dance movement in Cluj-Napoca. Already during his years at the university and even afterwards, he studied singing techniques from opera singer Júlia Kirkosa. He has attended several European masterclasses: Gregorian music in Pannonhalma, Eger and Cluj-Napoca; singing in Krieglach (Austria), Bucharest, Trondheim (Norway); Renaissance and Baroque dances in Bucharest, Cluj-Napoca, Miercurea-Ciuc and Trondheim. He was a member of the Schola Gregoriana Monostorinensis and the choirs of the National Hungarian Opera in Cluj-Napoca. He was the leader of Kalvin Schola. Currently he is a music teacher in Miercurea-Ciuc and the director of Lux Aurumque Chamber Choir, which performs contemporary choruses. In 2013, he was awarded the János Jagamas choir director award by the Union of Hungarian Singing Ensembles from Romania. Previously he attended the Miercurea-Ciuc Early Music Festival with dancers from ClujNapoca and participated in Baroque and Renaissance projects with the dancer Mary Collins. In recent years, he has performed as a singer and choir director in various collaborations, including the Baroque Festival Orchestra, the Barozda early music ensemble and Canticum Novum (Hungary).

After elementary percussion and piano studies with Károly Radányi, he studied percussion at the Secondary School of Arts in Szombathely (Hungary) as a student of László Szűcs and Magdolna Szarvas. He earned his chamber musician and music teacher diploma at the Music Faculty of the Széchenyi István University, Győr in 1999, as a student of László Váray. Starting with autumn 2003, he was a student at the Conservatoire Royale de Bruxelles for one year. At present, he is a teacher at the Weiner Leó Secondary School of Music in Budapest and leader

early music summer university in miercurea ciuc

ROLAND KASZA (Hungary) – Percussion in early music, percussion chamber course: musical games, improvisation, phrase-compilation

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After studying cello, he became interested in folk music and early music.

He studied at the Folk Music School in Óbuda under the guidance of György Lányi and Tamás Kobzos Kiss, specialising in cobza and bagpipes, then took part in several Renaissance masterclasses taught

by László Czidra. He obtained his first diploma at the Eötvös Loránd University (Budapest) in Hungarian language and literature in 1997 and defended his PhD thesis in 2004. Since 2001, he has been working at the Institute of Literary Studies of the Hungarian Academy of Sciences. His main research area is old sung poetry. In 1988, he founded the Musica Historica ensemble. The artist regularly gives concerts as a member of the Carmina Danubiana and Falkafolk ensembles, and as a soloist as well, with Márta Sebestyén, Katalin Szvorák, András Szabó and Erdal Şalikoğlu. He has composed music for the stage, contributed to various CDs and TV films. Since 2018, he has been working as a lecturer at the Liszt Ferenc Academy of Music. He received the Tinódi Lute Award in 2003 and the Kobzos Kiss Tamás Itinerant Award in 2016. This year is the tenth time he has been leading the Renaissance ensemble masterclass at the Early Music Summer University in Miercurea Ciuc.

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RUMEN ISTVÁN CSÖRSZ (Hungary) Renaissance ensemble masterclass

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of the percussion department. His pedagogic work focuses on chamber music and applying percussion instruments to early music. His pupils took part in prestigious solo and chamber music competitions, his work as a teacher being specially awarded. Together with his students, he gives performances both in Hungary and abroad. He has been a member of the Musica Historica ensemble since 1995. In 1999, he joined the Canlar ensemble playing classical Turkish music.

14th early music miercurea ciuc early summer music university festivalin l 9–17 miercurea july 2022 ciuc l 10–15 july 2022

BALÁZS SUDÁR (Hungary) – Percussion in early music, percussion chamber course: musical games, improvisation, phrase-compilation

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He started his musical studies with the cobza (plucked folk instrument) 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 instrument, with Erdal Şalikoğlu from Istanbul. Later, he took private lessons from Yusuf Benli, a master of the saz (bağlama). In the meantime, he got acquainted with the Ottoman classical music theory and practice, being primarily preoccupied with processing 17–18th century resources.

He obtained his PhD at the Turkish Department of the Eötvös Loránd University, Budapest with his work about literature and music in the Ottoman Hungary. Since 2003, he has been a researcher at the Institute for History of the Hungarian Academy of Sciences. His main areas of research include the cultural and political history of the Ottoman Hungary. He is the author and co-author of several books, studies and translations. Between 1990 and 2011, he was a regular member of the Musica Historica ensemble; as a guest artist, he still takes part in their activity. In 1997, he founded the Canlar ensemble specialising in Turkish classical and folk music. His relationship with music is enriched by the several reconstructions and copies of early musical instruments.

ZSUZSA CSENGERI KOSTYÁK (Romania) – Harpsichord

She graduated from the Sigismund Toduță High School of Music in ClujNapoca in 2004; she continued her organ studies at the Gheorghe Dima Academy of Music in Ursula Philippi’s class and studied harpsichord with Erich Türk, where she graduated in 2008. She obtained her MA in organ at the Schola Cantorum Basiliensis (Switzerland) in 2010 under the mentorship of Lorenzo Ghielmi. During her years in Switzerland she was the organist of the Christkatolische Kirche of Möhlin. She has held several solo concerts in Cluj-Napoca and throughout Transylvania, and has also performed in Italy, Switzerland, Austria and Germany.

early music summer university in miercurea ciuc

Correpetiteurs

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She was born in 1993 in Miercurea Ciuc and studied cello and later Gregorian chant at the Nagy István High School of Arts. During her high school years, she was an active member of several local choirs: the church choir of Șumuleu Ciuc, the Gregorian Schola, the choir of the Nagy István High School of Arts and the Lux Aurumque chamber choir. She studied music pedagogy at the University of Arts in Târgu Mureș. During her studies, she participated in a number of theatre productions. After graduating from university, she composed music for several theatre productions: for the shows Good People of the M Studio Movement Theatre in Sfântu Gheorghe, Spring Awakening of the Csiki Gergely Theatre of Timișoara and Făt Frumos din Lacrimă (Prince Charming of The Tear) of the Merlin Puppet Theatre, also of Timișoara. Since 2017, she has been teaching music at the Children’s Educational Centre and the Waldorf School in Miercurea Ciuc. She is a contributor and instructor of several activities and camps for children and leads training courses for teachers.

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REBEKA ÁDÁM (Romania) – Animator, musical activities for children

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She is a regular participant at the Early Music Summer University in Miercurea Ciuc, as a harpsichord accompanist. Between 2011 and 2014, she was organist of the Kolozsvár–Törökvágás Reformed Parish in ClujNapoca. She is a member of the Saint Cecilia chamber orchestra of Cluj-Napoca as organist and harpsichordist. As of 2016, she has been teaching organ and piano at the Sigismund Toduță High School of Music in Cluj-Napoca.

14th early music miercurea ciuc early summer music university festivalin l 9–17 miercurea july 2022 ciuc l 10–15 july 2022

AMALIA ERDŐS (Romania) – Harpsichord

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She graduated from the Gheorghe Dima Academy of Music of ClujNapoca in 2008, where she studied organ under the guidance of Ursula Philippi and Erich Türk. In the period 2005–2006, she studied organ at the Hochschule für Künste of Bremen, Germany, with Wolfgang Baumgratz as well as early music with Harald Vogel. She attended several masterclasses, studying organ and harpsichord with internationally renowned professionals. In 2006, she was a finalist at the Georg Muffat International Organ Contest in Schlaegl, Austria. In 2011, she was awarded the third prize at the Jan Kucharsk International Organ Contest in Łódź, Poland. In cooperation with the Jubilate Choir, she released the CD entitled Cantate Domino. Since 2009, she has been a member of the Fonte di Gioia baroque ensemble. In 2013, they launched their first CD, playing on the oldest organ in Transylvania (Păucișoara, Mureș County, 1693). At present, she teaches organ, harpsichord and chamber music at the Gheorghe Dima Academy of Music of Cluj-Napoca.

ZSOLT GARAI (Romania) Harpsichord

He was born in Arad in 1979, where he started to study the piano at an early age. After graduating from the Sabin Drăgoi Secondary School of Arts in his hometown, organ–piano specialisation, he studied organ with Ursula Philippi, Erich Türk and Maria Abrudan, and musical composition under the guidance of Cornel Țăranu, at the Gheorghe

Dima Academy of Music in Cluj-Napoca, where he graduated in 2005 and obtained his PhD in 2013. He has attended several masterclasses in Karlsruhe, Bad Wimphen, Budapest, Debrecen, Breaza and Oradea.

He has held numerous organ and harpsichord concerts in Romania, Hungary, Germany, Belgium, Austria, Poland, the United States of America and Israel. At present, he is an associate professor at the music faculty of the Emanuel University of Oradea. Since 2010, he has been the harpsichordist of the Il Pastor Fido baroque ensemble.

Translators

early music summer university in miercurea ciuc

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She did her PhD at the Gheorghe Dima Academy of Music, with her thesis entitled Gregorian Music in Medieval Transylvania, and obtained her habilitation in the subject Academic Musicology and Public Musicology. She studied at the Kodály Institute of Kecskemét, the Institute of Musicology of the Hungarian Academy of Sciences in Budapest, the University Erlangen-Nürnberg (German Institute for External Affairs – DAAD scholarship holder), the Music Conservatory of Madeira, the Paul Sacher Foundation of Basel and the Bucharest University of Music. At the moment, she is a senior research fellow and a teacher of music history and palaeography at the Gheorghe Dima Academy of Music of Cluj-Napoca, and Gregorian chant and analysis of Bach Cantatas at the Babeș-Bolyai University, Faculty of Reformed Theology. She has given lectures in Cluj-Napoca, at the early music festivals in Miercurea Ciuc and Timișoara as well as at several universities in Europe. She has been a translator at the Miercurea Ciuc Early Music Festival and Summer University for several years.

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ELENA MARIA ȘORBAN (Romania)

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KATALIN HANKE (Brașov)

14th early music miercurea ciuc early summer music university festivalin l 9–17 miercurea july 2022 ciuc l 10–15 july 2022

She graduated from the Gheorghe Dima Academy of Music in ClujNapoca, obtaining her violin teacher’s degree in 1976. Until 1989, she played in the symphonic and chamber orchestra of the Gheorghe Dima Philharmonic Orchestra in Brașov, and since 1992 she has been teaching chamber music at the Faculty of Music of the Transilvania University ofBrașov. She owes her passion for early music mainly to the Cantus Serenus ensemble in Brașov, founded in 1973 by enthusiastic professors of the Pedagogical Institute. Her first concert with this ensemble took place at the Miercurea Ciuc Early Music Festival in 1981, followed by several concerts in the country and abroad. She is a founding member of the early music ensemble Codex, established in 1996 by professors and students of the Faculty of Music in Brașov.

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IGNÁC CSABA FILIP (Sfântu Gheorghe) Artistic Director of the Festival

He studied at the Academy of Music in Cluj-Napoca in the flute class of Gavril Costea, with Ferenc László as his chamber music teacher.

He participated in several international masterclasses, where he acquired the techniques of the modern flute as well as the baroque flute and the recorder. As a member of the Cantus Serenus, Amaryllis, Georgius, Codex, Collegio Stravagante and other ensembles, he has performed in numerous national and international chamber music concerts, as well as in theatre and opera performances. As a flute soloist, he has collaborated with several philharmonic orchestras in the country. In 1998, he published two methodology books, entitled Furulyaiskola (Recorder methodology) and Furulyamuzsika (Recorder music) which appeared in five editions. Since 1996, he has been a lecturer at the Faculty of Music of the Transilvania University of Brasov, and since 2001 he has been head of department. In 2004 he obtained his doctorate at the Gheorghe Dima Academy of Music in Cluj-Napoca. As of 2008, he has been the artistic director of the Miercurea Ciuc Early Music Festival and Summer University.

The art object of the Miercurea Ciuc Early Music Festival in 2022 The work of Ferenc Siklódy (Miercurea Ciuc) Copper engraving, 15 × 11.5 cm

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Tickets and passes Admission to the concerts and events not listed here is free.

Date

Hour

Concert / Event

Place

Ticket

Saturday, 9 July

18.00

Opening Ceremony of the Festival

18.30

OBSIDIENNE (France)

Mikó Castle*

25 lei

18.00

CONCERTO SPIRALIS (Hungary, Romania)

Mikó Castle*

15 lei

19.00

SEMPRE (Romania)

Cinema Csíki Mozi

15 lei

21.00

CIPRIANA SMĂRĂNDESCU (Italy)

Mikó Castle, Northwestern Bastion Hall

15 lei

Tuesday, 12 July

21.00

CANLAR (Hungary)

Mikó Castle, Northwestern Bastion Hall

15 lei

Wednesday, 13 July

19.00

CODEX (Romania)

Cinema Csíki Mozi

15 lei

Thursday, 14 July

19.00

FLAUTO DOLCE (Romania)

Cinema Csíki Mozi

15 lej

Friday, 15 July

19.00

BAROQUE FESTIVAL ORCHESTRA (Romania)

Szent Ágoston Church

25 lei

11.00

Children’s Renaissance Day

18.00

CARMINA RENASCENTIA (Romania)

19.30

MUSICA HISTORICA (Hungary)

20.00

HORTUS MUSICUS (Estonia)

Sunday, 10 July

miercurea ciuc early music festival

l 9–17 july 2022

Monday, 11 July

Saturday, 16 July

Sunday, 17 July

10 lei Mikó Castle*

Szent Ágoston Church

25 lei

25 lei

CONCERT PASS / The price of the concert pass valid for all concerts of the festival is 150 lei / person.

Tickets and passes can be purchased in advance and during the festival at the Cinema Csíki Mozi, or at the concert venue one hour before the performances.

The local tours are free, but registration is required. Registration is possible by calling +40–746–244235.

For registration to participate in the wine tasting, please call: +40–753–055311. * In case of unfavourable weather, in the Great Hall of the Csíki Játékszín Theatre

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