Baroque Festival Orchestra (RO

BAROQUE FESTIVAL ORCHESTRA / RO

“What moves away from nature no longer moves us”

(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

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)

2022 l 9–17 july

festival music early ciuc miercurea Viol: Csaba Adorján (Miercurea Ciuc) 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) 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

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.

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: 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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