favola in musica early new music
favola in musica early new music
A cross-genre, biannual music project. “favola in musica. early new music” is a creative music project, merging early and contemporary music in concert performances on a CD & a in a (digi-)book: The project involves
EARLY and “Early, New Music” (world first recordings and world first performances of unearthed forgotten compositions), as well as
“New, Early Music” (contemporary compositions that are specially commissioned for this project and inspired by early masters).
A converging, interweaving and encountering of opposites. early ‚new’“ music:, never heard by today’s ears. new ‚early’ music: contemporary compositions, inspired by the early masters
A „little project“ - a „big“ Team MUSIKER_INNEN Maria Weiss (Mezzosopran), Wolfgang Mitterer (Komposition), Rosario Conte (Laute), Gyöngy Erödi (Cello), Marco Frezzato (Cello) KÜNSTLERISCHE & MUSIKALISCHE LEITUNG, IDEE, KONZEPT, PROJEKT-ORGANISATION Maria Weiss TON Jonas Niederstadt (Tonmeister, Aufnahmeleitung & Mastering) EHRENMITGLIEDER KULTURVEREIN „Favola in Musica“ Teresa Berganza, Glenys Linos, Gerhard Persché WERKTEXTE Mag. Alexander Moore, Mag.a Doris Weberberger, Dr. Marko Deisinger, Dr. Antonio Martín Moreno, Maria Weiss WELT-ERSTEINSPIELUNGEN Maria Weiss (Wien| Nationalbibliothek), Antonie Schlegel (Transkription in moderne Notenschrift), Antonio Martín Moreno (Spanien|Durón) FOTOGRAFIE Moritz Schell, Paul Weissbacher, Maria Weiss, Joe Schroecker STYLING | KLEIDUNG elfenkleid (Sandra Thaler, Anette Prechtl), Stadttheater Klagenfurt | Kostümfundus Maria Weiss (CD Cover, Monteverdi, Händel „Cara Speme“, Musikvideo) GRAFIK & LAYOUT Maria Weiss GRAFISCHE BERATUNG Inga Seidl, Vera Svoboda MUSIKALISCHE BERATUNG Glenys Linos, James Pearson (Staatsoper Wien), Maurice van Lieshout, Franco Pavan, Rosario Conte, Rogério Goncalves, Richard Kitzberger (Hip Hop), Lydia Vines Curtis (Spanische Aussprache), Dr. Georg Kremnitz (Altfranzösische Aussprache) MUSIKVIDEO Silent tapes: Stephanie und Francis Lane (Musikvideo: Qui d’amor | auf der CD) Paul
Weissbacher (Kamera), Maria Weiss (Script, Kamera, Schnitt, Ton: Info – und Crowdfundingvideo, Regie: Musikvideo „Bach“) Cinetop Austria: Philipp Steiner (Kamera), Andreas Werginz (Ton) - (Musikvideo „Bach“), Joe Schroecker (Konzert-Video) MAKE-UP Romina Mereu (Crowdfunding Video) ÜBERSETZUNGEN | KORREKTURLESUNG Englisch: Esther Joe Steiner, Prof. Paul Brians | Prof. Ann Williams (Proof Reader) Spanisch: Roman Gottwald | Mag. Gilbert Boll i Ball (KorrekturLeser) Deutsch, Latein: Maria Weiss | Dr. Michael Weiss (Korrektur-Leser) PRESSE Iris Blumauer, Maria Weiss FÖRDERER | SPONSOREN friends of favola (ca. 500 FörderInnen) startnext Land Kärnten Gemeinde Frauenstein Stadt St. Veit Haus-Infrarotheizung.com | Johann Beurer Blumenhotel St. Veit Gipfelhaus Magdalensberg KOOPERATIONS-PARTNER Nationalbibliothek Wien, elfenkleid, Stadttheater Klagenfurt, silent tapes, Aktion Leben Klagenfurt (Benefizkonzert), cinetop austria LOCATIONS Pfarre Ottmanach, Provisor Dr. Ante Duvnjak, Ferdinand Bürger, Gipfelhaus Magdalensberg, Heike Skorianz, DI Dorothea Gruber, Thomas Telsnig, Gerda Illgoutz DRUCKPARTNER: CD Hardcover Digibook SONY DADC Salzburg (CD Pressung, Druck Digibook Sticker) Ing. Bernhard Rath | Copy Rath LABEL 1607 Records VERTRIEBSPARTNER Cäcilia und Johannes Wallbrecher: exando-music.com Amazon, ITunes, Qobuz, favolainmusica.com
The responsibility of the artist is not to give answers. It is to ask questions.* Is it possible, in a general sense, that OLD art can be at the same time modern or “NEW” and that contemporary art shares its roots with the OLD? Is it not a sign of enduring works of art that they never lose their topicality and that through their sheer inexhaustible complexity they have allowed listeners, readers and onloo- kers throughout the centuries to explore ever new levels of meaning? How big is the division between the diametrically opposed positions? Are they closer together than we may think? What happens when they come into contact and intersect like two circles? favola in musica. early new music is a CD and concert project which seeks to explore these possibilities in a creative way: opposites like EARLY and NEW music unite with the aim to create timeless art located at the intersection of time and space, tradition and the modern age. The hidden, magical and energetically-charged places in Carinthia are interwoven with the project’s music, words and pictures and are more than mere locations: they are experienced as ‘lived’ spaces. *Robert Wilson (In: Leo Truchlar: “Lichtmusik, Zur Formensprache zeitgenössischer Kunst“, Part 2; Münster: LIT Verlag 2013, 439)
A cоverging, interweaving and encountering " o#osites The CD’s title “FAVOLA IN MUSICA” is taken from the subtitle of Claudio Monteverdi’s “L’Orfeo”. The CD reflects the complexity of this work:
- ARTISTIC DIMENSION: Monteverdi as the composer and example of an early master, who was also a modern visionary and innovator
- MUSICAL DIMENSION: “recitar cantando”, the revoluationary “seconda practica” in L’Orfeo, interwoven with traditional techniques, with a focus on the essence, “word and sound”
- SPIRITUAL DIMENSION: Orpheus and his existential search and journey
- VISUAL DIMENSION: The title in its literal and metaphoric interpretation as the visual dimension: fairy tales and their archetypal potential; the opening up of spaces of time, sound and experience for encounters with our primary humanity.
Pivotal events in history have repercussions, which are like large circles drawn with a compass on paper.
Such a pivotal event took place on 24 February 1607. The performance of “L’Orfeo” in the Sala dei Fiumi at the Palazzo Ducale in Mantua went down in music history. Like a key that unlocks, this work has opened doors to new musical worlds.
Here, the traditional “primar practica” and the modern “seconda practica” are brought to perfection. Tradition and “revolution” unite in one of history’s pivotal moments.
The “dance” around the old and new, tradition and innovation, questions without the need to provide answers but to spark creative
processes, embarking on a journey of song and music like Orfeo, regarding the journey as a reward in itself, not as a means to an end: those are the key components of “favola in musica. early new music”. A special feature is the concluding title of “favola in musica”:
Monteverdi’s “L’Orfeo” (1607) was the beginning of a musical revolution: WORDS GOVERNING THE MUSIC.
This is why the closing title on the CD takes its inspiration from Hip Hop:
Spoken texts from Monteverdi’s “L’Orfeo” of surprising depth and relevance. But maybe some old things somehow always maintain their newness.
At the same time “favola in musica” invites on a journey to special places:
places which move us, raise us, which enchant or bring us in another world, away from the everyday life. Thus the music was recorded in a mountain church on 1059m, built on a former Celtic cult site and Roman temple arrangement. The photographic journey in the digibook, inspired by V. Woolf’s “Orlando” leads to castles hidden in the wood, ruins or a dilapidated Gothic chapel.
What people say about „favola in musica“
What marvelous voice, what exemplary singer and what interesting artist! Max Müller (singer & actor)
A wonderful project bringing joyful tears into your eyes:
favola in musica by Maria Weiss. Bernhard Kerres (former director of Konzerthaus of Vienna,, CEO. of„Hello Stage“) Though I am no "music expert" I would like to write here nevertheless a few lines. Younger musicians have succeeded in something very special with this project, which will certainly have large longevity. With every
Weiss has a lovely, powerful voice which she uses in a historically authentic manner to perform this wonderful recital of music mostly early music. (...) The digibook is a lavish production of 216 pages including detailed, useful, well-researched notes and many romanticlooking photographs of Weiss in period costumes against natural backgrounds. (...) The CD itself should be welcome in the collection of any fan
detail you notices the incredible effort, it starts with the affectionately
of early vocal music, and the digibook version would make a
made digibook up to the singer and her ensemble.
suitably lavish gift for such a fan.
The passion with which these musicians make music is audible. If Maria Weiss sings the complaints of Purcell’s Dido, during these minutes she is Dido.
Seldom a voice has touched and convinced me so strongly. More accomplished music cannot sound to me. How poor would our capitalistic world be if we would not have people like Maria Weiss? Gottfried Kriegl (Austria)
A delight production, in all respects. Prof. Paul Brians (musicologist, USA)
Eternal Music This is one of the most beautiful recordings I have heard in a long time. The brilliant and fine mezzo of Maria Weiss takes us through a musical journey of mostly Early Music but some Contemporary Music mixed into it. Just beautiful!
(Hello Stage, Online Platform for Classical Musicians)
Selected Reviews Favola in musica asks you to make time for dreams. The late-Gothic church on the Magdalensberg served as the recording location for the musical works, smoothly bringing together opposites such as early and new music. Maria Weiss journeys effortlessly through the centuries with a flawlessly precise and expressive mezzosoprano voice. The music covers a wide range of works, including nine from early Baroque to Renaissance and three unknown pieces (found in the Austrian National Library), concluding with two new experimental creations by Wolfgang Mitterer, a native from Lienz, who has captured the spirit of the early masters. With these two first world recordings, the Ars Electronica winner created sound textures that could not be more opposed. The well-known lutenist Rosario Conte has also left his mark with a stylistically confident performance. The Hungarian cellist Gyรถngy Erรถdi enchants with sublime and meditative sound movements. An elaborate and magnificent 215-paged booklet contains introductory texts, biographies, translations into German and English and visual impressions of mystical locations. Maria Weiss has conquered the European stages. With this magical musicscape she will also inspire and bring pleasure to your daily life! (DIE BRร CKE. Cultural Magazine | MARGIT HUBMANN, 10/11.2015)
With her bibliophile debut CD, the Klagenfurt-born mezzo-soprano Maria Weiss spans a large repertory from Renaissance to present times (included are two commissioned works by Wolfgang Mitterer) with an immaculate and clear timbered voice and proves a gripping narrator of familiar pieces, as well as first recordings. (KLEINE ZEITUNG | ERNST NAREDI RAINER, 04.05 2015)
It has b$n a while since I found myself holding a CD wi% such a wоderfully crafted hardc'er b(klet
which runs to a full 216 pages (!) and is bursting with informative texts and fascinating images that bring a unique visual element to the music. The singer Maria Weiss and her ensemble milleseicentosette (Rosario Conte, theorbo and Gyöngy Erödi, cello) are behind “favola in musica. early new music”. A successful Startnext campaign has secured the necessary finances and enabled this publication. Fortunately, not only the wrapping is right, the content is also impressive. (…) The three musicians achieve the combination and interpretation of early and new music with excellent results. Rosario Conte, theorbo (i.e. Niccolò Paganini – La Lanterna Magica [2013]; Une larme [2010]) and Gyöngy Erödi, cello, excel with their finely spun melody. But, above all, the mezzosoprano voice of Maria Weiss floats brightly and nimbly. It almost seems as if the pieces were composed for her. The amazing clarity of the music is surely also down to Jonas Niederstadt, sound engineer and label boss of Carpe Diem Records, who recorded the pieces in the Saint Magdalene’s Church in Carinthia. (…) “favola in musica. early new music” is the convincing debut album of Maria Weiss. Great musicians, a good selection of works, brilliant recordings and a booklet like no other. Highly recommendable! (MUSIK AN SICH | INGO ANDRUSCHKEWITSCH, 03.2015)
THE LAVISH PRAISE HEAPED UPON MARIA WEISS’ DEBUT ALBUM IS MORE THAN JUSTIFIED.
“favola in musica. early new music” is the name of the project, which initially arose from the passionate inner world of mezzosoprano Maria Weiss. She was inspired by her grandfather, a very perceptive and keen man who told her stories, some of them about the many fascinating places in Austria, to create an enchanting album with a wonderful selection of works by great Baroque artists. (…) The recording was made by the excellent sound technician and Carpe Diem Records label producer Jonas Niederstadt in the Saint Mary Magdalene’s Church on the Carinthian Magdalensberg, a sacred place probably Celtic in origin, in the South of Austria. Listening to such distinguished musicians as Maria Weiss, Rosario Conte and Gyöngy Erödi (…) is pure luxury. Their rich expressive quality is convincing but also a lot more. We are talking here about musicians with a high degree of understanding and coordination, who participate in a fruitful dialogue and bring about a flawless acoustic equilibrium. (SONOGRAMA MAGAZINE | SPANISH MUSIC MAGAZINE | CARMEN MIRÓ, 29.09..2015) (translation: Gilbert Bofill i Ball (spanish), Esther Jo Steiner (english)
Her voice is distinctive, a beautifully burnished and rounded mezzo that at the same time remains fundamentally pure in tone, vibrato being sparingly used for expressive purpose. All this can be heard on the opening track Machaut’s famous unaccompanied virelai ‘Foy porter’, which is perfectly pitched throughout and sung with arresting attention to the sense of the words. This close attention to text, doubtless a spin off from the singer’s other career as an actress, is a feature of the whole disc, on which Weiss sings in no fewer than six languages. early music review | Brian Robins
CONTACT for more details please visit: favolainmusica.com 1607 Records | Favola in Musica. Musik- und Kulturverein | Karnberg 14 | A – 9556 Liebenfels | Austria Phone: +43 699 120 98 703 Mail: hello@favolainmusica.com