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Festival Programme Thursday, 11th of July 13.30 – 14.00 Street music Sonatores Pannoniae Liberty Square (Szabadság tér) 18.00 Opening Ceremony Sonatores Pannoniae (Hungary) 19.30 Passeggio (Kolozsvár), Codex (Csíkszereda – Sepsiszentgyörgy) and Musica Historica (Budapest) Courtyard of Miko-castle * 22.00 Sam Chapman (United Kingdom) and Fülöp Mária (Switzerland), basement of Miko- castle

Friday, 12th of July 13.30 – 14.00 Street dance Dance and music: Codex (Csíkszereda – Sepsiszentgyörgy) - in front of Tulip department store 14.00 – 18.00 Summer University - Course closing concert Nagy István Arts Highschool (Művészeti Líceum) 18.00 - Transylvania Baroque Ensemble (Kolozsvár) Calvinistic Church 20.00 Baroque Festival Ensemble, artistic conductor: Ulrike Titze (Germany), Baroque Festival Choir, conductor: Gábor Kovács (Hungary) Szent Ágoston Church 22.00 Kónya István – renaissance lute Basement of Miko- castle

Saturday, 13th of July 11.00 – 13.00 Renaissance Children’s Day Beldam group (Csíkszereda) puppet-show Pörgettyű–Talentum–Boszorka playhouse Musica Antiqua (Hungary) Courtyard of Miko-castle * 13.00 -13.30 Street Music Musica Historica (Budapest) Parking lot of Kaufland 18.00 Carmina Renascentia (Nagykároly) 18.45 Codex (Csíkszereda – Sepsiszentgyörgy) and Kobzos Kiss Tamás (Hungary) 20.15 Musica Historica (Budapest) Courtyard of Miko-castle * 22.00 “...canticum novum „ (Szeged)

Sunday, 14th of July 11.30 – 12.00 Street Music Carmina Renascentia (Nagykároly) In front of Csiksomlyo Church 18.00 Custos Viol Consort (Budapest) 19.00 The Early Folk Band (UK) 20.30 Reneissance Dance Hall with Kovács Gábor Courtyard of Miko-castle *

* in case of bad weather: Trade Union Arts Center Concerts outside Csíkszereda: Saturday, 13th of July 18.00 Lycem Consort (Bucharest) and Kájoni Konsort (Barót), Gyergyószárhegy, Lázár Castle 19.30 Flauto Dolce (Kolozsvár), Gyergyószárhegy, Lázár Castle Sunday, 14th of July 19.00 Erich Türk Organ Concert, Csíkdelne, Saint John Church

Programme Booklet Thursday, 11th of July, 18.00 Csíkszereda, Courtyard of Miko-castle (in case of bad weather: Trade Union Arts Centre)

Sonatores Pannoniae 16th century’s wind instrument music in the Carpathian basin The influence of Italian music in Czech – Moravian, Austrian, Hungarian and Transylvanian lands

LÁSZLÓ BORSÓDY, BENCE FÉLEGYHÁZI – baroque trumpet, cornetto, JÓZSEF SZÁSZ baroque trumpet, FERENC KÓCZIÁS, BÉLA KOPPÁNYI, GÁBOR MESTER– baroque trombone, PÉTER LÉVAI - pommer, crummhorn, ÁDÁM BUDA – hurdy-gurdy, kobse, KRISTÓF PÁNCZÉL - orgue Program Music of unknown authors from Sopron, Kassa, Pozsony Italian Composers (Venice, Brescia): Cesario Gussago, Giovanni Gabrieli, Antonio Bertali Czech – Moravian music: P. J. Vejvanovsky The musical pieces are mainly self-gathered.

Thursday, 11th of July, 19.30 Csíkszereda, Courtyard of Miko-castle (in case of bad weather: Trade Union Arts Center)

Passeggio Historical Dance Ensemble Iter in tempore Iter in tempore represents the journey of a contemporary character who discovers, in reverse chronological order, the 19th–14th centuries, through dance and music. The featured curiosity of childhood is the motif of the journey, the irresistible attraction offered by the music and the playful dance steps are guiding our character further and further in time. This scenario is an

attempt to demonstrate that the past can be understood only when we release ourselves from the power of the contemporary prejudice. The trip is made backwards, with small steps – the differences between past and present are increasing in an invisible way. Thus, between the two dates (the present and the Middle Ages) there are no breaks, but continuity in time. The costumes used in this performance are impressive by their diversity, the dance is surprisingly inventive and the selected music parts can become a lesson on music history. DANCERS: CSILLA JUHÁSZ – choreographer, ANA-MARIA JUHÁSZ, ENIKŐ KIS, JÚLIA PAPP, ÜNIGE PÖLLNITZ, ANIKÓ SZABÓ, NOÉMI SZALONTAI, PÉTER SZUTOR, HUBA SZÁSZ, MELINDA TÖRÖK MUSICIANS: CODEX Early Music Ensemble, MUSICA HISTORICA

Program 19th century The Duke of Kent's Waltz (Cahusac’s Annual Collection, 1801) John Playford: Spring Garden (The Dancing Master, 1665) Joseph Hart’s Lancers Quadrille: 4th Les Visites, 5th Les Lanciers (Hart's 13th Quadrille Set, 1825) 18th century Jean-Féry Rebel: Les Caractères de la Dance. Fantaisie (Les Caractères de la Dance. Fantaisie, 1715) 17th century John Playford: Portsmouth (The Dancing Master, 1701) John Playford: Mr. Beveridge’s Maggot (The Dancing Master, 1695) John Playford: Prince Rupert's march (The Dancing Master, 1651) John Playford: Step Stately (The Dancing Master, 1651) 16th century Thoinot Arbeau: Basse dance "Jouissance vous donneray” (Orchesographie, 1589) Fabrizio Caroso: Dolce Amoroso con Fuoco (Il Ballarino, 1581) Cesare Negri: Alta Mendozza (Le Gratie d’Amore, 1602) Fabrizio Caroso: Rustica Amorosa (Il Ballarino, 1581) Cesare Negri: Il Gratioso (Le Gratie d’Amore, 1602) Thoinot Arbeau: Branle suites (Orchesographie, 1589) 15th century

Domenico da Piacenza: Mignotta Vecchia (De arte saltandi et choreas ducendi.De la arte di ballare et danzare, 1450) Guglielmo Ebreo (Giovanni Ambrosio): Voltati in Ca Rosina (De pratica seu arte tripudii, 1463) Guglielmo Ebreo (Giovanni Ambrosio): Legiadra (De pratica seu arte tripudii, 1463) Middle Ages Czaldy Waldy (late 15th century) Mayenzayt – Danse (13th century) Saltarello III. (turn of 13-14th centuries) Ductia (England, 14th century).

Thursday, 11th of July, 22.00 Csíkszereda, Basement of Mikó – castle

Sam Chapman and Mária Fülöp Joynd in Division As instrumental music became increasingly emancipated from vocal music during the course of the sixteenth century, players took the opportunity to add ever-more elaborate and virtuosic variations to the pieces they performed. In England this became known as „division music” - long notes were „divided” into shorter ones, creating complex textures and often rendering popular tunes almost unrecognisable. Keyboard instruments were particularly suited to this kind of music: a polyphonic texture could be maintained, and at the same time fast divisions could be run in one or more parts. Though also possible on the lute, much division music is found in the form of lute duets: one lutenist plays a „plaine song” or „ground”, while another shows his skill in performing divisions. Several such duets also exist for the harpsichord.In this programme, solo works for both harpsichord and lute are presented, as well as arrangements of pieces that were originally conceived for two lutes. John Dowland and Thomas Robinson were arguably the two most important English lutenist-composers of their day, though remarkably neither were employed at the English court: King Christian of Denmark was able to secure the best musicians from all over Europe for his private entertainment, and both Dowland and Robinson were stationed at Elsinore. Robinson's book „The Schoole of Musick” contains important instructions on playing the lute, as well as many excellent solo pieces and duets. Dowland's own treatise on playing the lute, plus many of his lute solos, appears in „A Variety of Lute Lessons” (published by his son, Robert). Though no duets survived from Dowland directly, a second lute part to Lord Willoughby's Welcome Home can be found in the anonymous manuscript, known as „The Tollemache Lute Book”. Composers either added divisions and variations to popular tunes of the day, or composed new pieces from scratch. „The Bells”, „Robin is to the Greenwood gone”, and „The Spanish Pavin” all fall into the first category. Many of John Dowland's works became so popular that they were used as templates by other composers – Byrd's „Pavana Lachrymae” is a good example of this. Unlike Dowland and Robinson, Byrd and Bull both enjoyed much success in their home country (though Bull also spent some years in Antwerp). Many of their pieces are dedicated to

renowned courtiers, for example „The Queen's Almain” and „Lord Hunsdon's Galliard”. Dowland too dedicated many works to members of the nobility (Sir John Smith, Lady Clifton, Lord Willoughby), and even to the Queen herself. Nevertheless, his failure to secure a position at her court disappointed him greatly. His melancholy mood expresses itself in such pieces as „Semper Dowland, Semper Dolens” („Always Dowland, Always Sadness”). SAM CHAPMAN – renaissance lute, FÜLÖP MÁRIA - harpsichord

Program John Dowland (1563-1626)

Praeludium Lady Clifton's Spirit Solus cum Sola Sir John Smith's Almain

Thomas Robinson (c.1560-1610)

A Plaine Song

William Byrd (1540-1623)

The Bells

Thomas Robinson

Twenty Ways upon the Bells

William Byrd

The Queen's Almain

John Bull (1562/63-1628)

Lord Hunsdon's Galliard

Thomas Robinson

A Gigue Robin is to the Greenwood gone A Gigue A Toy A Galliard

William Byrd

Pavana Lachrymae

John Dowland

Semper Dowland, Semper Dolens

Thomas Robinson/John Dowland

Lord Willoughby's Welcome Home

John Bull/Alfonso Ferrabosco (1543-1588) The Spanish Paven

Friday, 12th of July, 14.00 – 18.00 Csíkszereda, Nagy István Arts Highschool

6th Summer University of Early Music – Student’s Concert Friday, 12th of July, 18.00 Calvinistic Church

Baroque Ensemble „Transylvania” From London to Transylvania, across Europe In the repertoire of the Baroque Ensemble „Transylvania” one can find sonatas of Pietro Castrucci and Gasparo Visconti (one is flute, the other is violin). Both composers are present in Saint George Manuscripts (1757) and both lived and worked in England as well. However they are among the rarely played composers. Their presence in the concert is a revelation. The Telemannsonata is from the above mentioned manuscript. In the score from Saint George (1757) there are many West –European musical pieces, including works of famous Italian and German composers. The script guards secular musical pieces for violin and orchestras. Though it was found in Saint George, its origin can probably be pursuited in the Transylvanian towns inhebited by Saxons, the collectors were assumably German musicians. Among the very rare works we find the piece of Lavotta János, called „Az égi háború” . After a hundred years it can presumably be heard for the first time here. It is a scene of life written with the words of music. Lavotta János (1764-1820) was a composer, violonist, pioneer of „verbunkos”. Between 1802 – 1804 he was the orchestrum director at Kolozsvar’s Theatre. From than on till 1816 – as a tutor – he worked at the local mensions. Presumably he has also been at the Bochida-castle as well, near Cluj. He was an educated musician, the influence of western culture is greatly felt in his works. The Transylvanian Baroque Ensemble’s performance is supplemented with a few works of contemporary Baroque composers (Uccellini, Boccherini). It is a curiosity that in the Uccelini’s work we encounter the piccolo violin. MAJÓ ZOLTÁN – baroque flute, BARTHA MÁTYÁS – baroque violin, CIPRIAN CÂMPEAN – baroque cello, ERICH TÜRK – harpsichord

Program Marco Uccellini (ca. 1603-1680): Aria sopra La Bergamasca (1642) Luigi Boccherini (1743-1805): Sonata în La major (G.4) (Londra, 1773) Adagio – Allegro – Affettuoso Pietro Castrucci (1679-1752): Sonata op. 1/6 (London, ca. 1730) Adagio-Allegro-Adagio-Gavotta-Minuetto Gasparo Visconti (1683-1713): Sonata in F-major (London, 1703) Andante-Adagio-Andante-Allegro-Adagio-Menuet 1 & 2 Lavotta János (1764-1820): Az égi háború (Phantasia a ClaviCembalo) (1818) Georg Philipp Telemann: Sonatina (Saint George Manuscript, 1757) Affettuoso-Vivace-Adagio-Presto Georg Philipp Telemann (1681-1767): Trio Sonata in C-minor TWV 42:c2 Largo-Vivace –Andante-Allegro Luigi Boccherini (1743-1805): Sonata in G-major No. 6 G.4 Adagio-Allegro-Affettuoso

Friday, 12th of July, 20.00 Csíkszereda, Szent Ágoston church

Baroque Festival Ensemble Festival Choir Artistic conductor: ULRIKE TITZE (violin) Chorus Master: GÁBOR KOVÁCS Program Johann Georg Pisendel (1687-1755): Sonata in C-minor Largo - Allegro Johann Sebastian Bach (1685-1750): Mass in G-major (BWV 236) Kyrie Johann Pfeiffer (1697-1761): Ouvertüre B-major Ouverture – Aria Cantabile – Cantabile Johann Gottlieb Graun (1701/02-1771): Sinfonia D-Major (GraunWV A:XII:10) Allegro assai – Andante – Presto Johann Sebastian Bach: Kantate „Jesu, der du meine Seele“ (BWV 78) Eingangschor - Choral Giovanni Battista Sammartini (1698-1775): Simfonia in A-major Presto – Andante – Presto mà non tanto

Johann Sebastian Bach: „Herz und Mund und Tat und Leben“ (BWV 147) Choral

Friday, 12th of July 10 p.m. Csíkszereda, Basement of Mikó – castle

KÓNYA ISTVÁN (lute) „Lachrimae” Renaissance lute „Hangszerek Királynője” – in the memory of Endre Deák, the most significant representative of Transylvanian lute music     

During the Reneisssance the lute was the second most important instrument after human voice. It was most popular in England, where over 2000 records of lute plays remained. Because of this we dedicate our performance to the English composers; nevertheless Italian, French, German and Hungarian compositions will aslo be heard, since in the English courts many foreign luteist were also employed, while many English luteists lived abroad. In the course of the evening works of John Dowland, Francois Cutting, Robert Johnson, John Sturt, Francesco da Milano, Francesco Spinacino, Adrian Le Roy, Bakfark Bálint, Hans Newsidler and work of anonymus composers will be heard. Saturday, 13th of July, 18.00 Csíkszereda, Courtyard of Miko-castle (in case of bad weather: Trade Union Arts Center)

Carmina Renascentia ILDIKÓ KERESZTESI - sopran, harp, recorder, crumhorn, TÜNDE LÖRINCZ - alto, percussion, JÓNUCZ ALFONZ - tenor, recorder, kornamus, crumhorn, SZILVESZTER LÖRINCZ bass, viola da gamba, recorder, JÀNOS VEZÈR recorder, crumhorn Program Michael Praetorius (1571-1621) : Dances from Terpsichore Musarum (1612)

John Dowland (1563-1626) : Faction that ever dwells (The Second Book of Songs 1600) Mistresse Nichols Almand (Lachrimae, or Seven Tears 1605) M.George Whitehead his Almand (Lachrimae, or Seven Tears 1605) All people (A Pilgrimes Solace 1612) Thomas Campion (1567-1620): Never weatherbeaten sail (Two Books of Ayres 1613) Claude Goudimel (1514-1572) : Wohl, wohl dem Mann (Genevan Psalter 1562) Bonjour Mon Coeur Hubert Waelrant (1517-1595): Als ick u vinde (Pratum musicum 1584) Clemens non Papa (1510-1555): Ick seg adieu (Souterliedekens und metrical Psalter, Antwerp1556) Adrian Willaert (1490-1562): Vecchie letrose (Canzone Villanesche alla Napolitana 1545) O bene mio Sempre mi ride Filippo Azzaiolo (1530-1569): Chi passa per sta (Phalese,1569) Giorgio Mainerio (1535-1582): Caro ortolano (Il Primo Libro de Balli 1578) Saturday, 13th of July, 18.45 Csíkszereda, Courtyard of Mikó-castle (in case of bad weather: Csiki Játékszín)

Codex and Tamás Kobzos Kiss „Akinek most kedve nincs” The 200 years’ anniversary of Pálóczi Horváth Ádám’s collection „Ötödfélszáz énekek” (1813) IGNÁC FILIP – recorder, flute, artistic director, ÉVA SZABÓ – recorder, flute, percussion, LÁSZLÓ KOVÁCS – violin, voice, ÉVA KOVÁCS – violin, voice, CSABA ADORJÁN – violas, violone, ZSOMBOR LÁZÁR – gardon, ÁRPÁD SZÖGYÖR – violone


Tamás Kobzos Kiss

Pálóczi Horváth Ádám’s (1760-1820) collection „Ötödfélszáz énekek” (1813) Pálóczi Horváth Ádám (1760–1820): Menőke Budáról Bécsbe, Stájer tánc, Menj el, menj, szegény magyar – Hát Isten néki! kapjunk rá, szokjunk rá a német táncra – De mit töröm fejemet A szerelem szárnyon jár – Ellopták szívemet – Erdőkön-mezőkön járó – Ó, mely kínos gyötrelem Pálóczi Horváth Ádám (1760–1820): Örök tüzek, égi karok

Codex Franz Paul Rigler (1747–1796): No.7 (12 Ungarische Tänze ) Joseph Haydn (1732–1809): Zingarese no.8 Pálóczi Horváth Ádám (1760–1820): E világ miolta (Ötödfélszáz énekek, 1813) No. 1,2,3 (Galántai dances from Ignac Sauer Ausgesuchte Ungarische Nationaltaenze collection 1803) Pálóczi Horváth Ádám (1760–1820): Világ haszontalanság (Ötödfélszáz énekek collection, 1813) No.12 (24 originelle ungarische Nationaltänze, 1810, Wienna) Erdélyi verbunk (Hungarian Dances, Wienna) No.15, 28 (Galántai dances from Sauer Ausgesuchte Ungarische Nationaltaenze collection, 1803) Anton Zimermann (1741–1781): Zingaresi no. 5 Pálóczi Horváth Ádám (1760–1820): A sorsával megelégedett („Ötödfélszáz énekek“ collection, 1813) Anton Zimermann (1741–1781): Zingaresi no. 5, 4. Én vagyok Sáron rózsája („Ötödfélszáz énekek“ collection, 1813) Mi legyen a házasság („Ötödfélszáz énekek“ collection, 1813) No.11 (24 originelle ungarische Nationaltänze collection, 1810, Wienna) Hungarian Dances from Saint George Manuscripts (1757) Azt mondják, hogy nem illik (Ötödfélszáz énekek collection, 1813) Ha meguntad életedet (Ötödfélszáz énekek collection, 1813) Nehéz tudni (Ötödfélszáz énekek collection, 1813) Akinek most kedve nincs (Ötödfélszáz énekek collection, 1813)

Saturday, 13th of July, 20.15 Csíkszereda, Courtyard of Mikó-castle (in case of bad weather: Trade Union Arts Center)

Musica Historica Saints and minstrels – Music of Medieval feasts (12–15th centuries) The ensemble’s program was totally attributed to the public due to their internet votes from their Middle Ages repertoire (Carmina Burana and the program which revives the period of Sigismund from Luxemburg). The upshot is a surprise – as it is the final concert of the first 25 years of Musica Historica’s existence. RUMEN ISTVÁN CSÖRSZ – voice, kobsa, fiddle, guiterne, dulcimer, hurdy-gurdy, bagpipe, shawm ZOLTÁN FARKAS – fiddle, rebec, ROLAND KASZA – percussions, ATTILA KOVÁCS – voice, kobsa, psaltery, recorder, RÉKA PALÓCZ – soprano, harp, ZOLTÁN SZÉPLAKI – voice, recorders, traverse flute, gemshorn, shawm, ZSÓFIA TÖVISHÁZI – fiddles Saturday, 13th of July, 22.00 Csíkszereda, Basement of Mikó-castle

„...canticum novum” English, Italian and Flemish part-songs

GWENDOLIN KISS, ALMA KUMBOR (sopran), EGRI ÁGNES (contralto), ANDRÁS VÁNYOLÓS (tenor), GÁBOR KOVÁCS (bass) West European music from the Bártfai Collection: Giovanni Croce (1557-1609): Cantate Domino canticum novum Orlando di Lasso (1532-94): Videmtes stellam Magi Surrexit pastor bonus Johann Hermann Schein (1586-1630): Lieblich und schöne sein ist nichts From Codex Kájoni: Angelus ad pastores ait Quem vidistis pastores John Dowland (1563-1626): Shame at my unworthiness Thou mighty God Jan Pieterszoon Sweelinck (1562-1621): Psalm 137 Estans assis au rives aquatiques de Babylon Psalm 149 Chantez a Dieu chanson nouvelle

Orlando di Lasso: Susanne un jour Giles Farnaby (1563-1640): Susanna fair Alfonso Ferrabosco (1543-88): Susanna fair Luca Marenzio (1553?-99): Zefiro torna Claudio Monteverdi (1567-1643): Sfogava con le stelle Carlo Gesualdo da Venosa (1560?-1613): Itene o miei sospiri Languisce al fin Cipriano de Rore (1515?-1565): Anchor che col partire Sunday, 14th of July, 18.00 Csíkszereda, Courtyard of Mikó-castle (in case of bad weather: Trade Union Arts Centre)

Custos Viol Consort Musical journey from Kájoni Codex to the court of Queen Elizabeth

Little Hungarian music lived through the Turkish thralldom, while throughout Europe music and all other cultures were blooming. In this hardly spoilt historical period the Hungarian codex writers saved in their records the wonderful heritage from which we selected the first part of our concert. The contemporary publications provided a wide sphere for the musical compositions in Hungary, lining up till the 17th century the cherished European music as well. Countless works gathered in Codex Caioni and in other contemporary Hungarian publications are unequivocally acknowledged public property. There is probably no Early Hungarian music ensemble that would not keep several extracts in its repertoire. These magnificent codexes immortalize the contemporary Hungarian tune’s style, tone and feeling. In the urban lifestyle of Elizabeth the first’s England music reading and the ability to play on an instrument were almost mandatory. Besides the acquisition of dance steps these were part of the society’s demands. Gamba consorts were so popular that families owned several consorts as well (2 soprano, 1 altoand 2 bass viola da gambas) and the storage of them required separate chests, called “viol chest”. Contemporary records narrate family singings, consort plays. JÚLIA REGŐS - viola da gamba, NIKOLETTA JAKOBOVICS - viola da gamba, MÁTYÁS ÖLVETI - viola da gamba, SÁNDOR SZÁSZVÁROSI - viola da gamba, Guest: ÉVA BODROGI – sopran


Transylvania, 16th century: Johannes de Lublin (16th century): Hayduczky Allemande „Liber leviorum carminum”l, Balassi Bálint: Bocsáss meg Úristen (God forgive me) Passamezzo Ongaro Lodovico Viadana (1560-1627): O quam suavis est Domine spiritus tuus Anonymous: Saltarello Ongaro Anonymous: True Messiah England J. Ward (1571–1638): 6. fantasia from “Paris” fantasies T. Brewer (1611 – c. 1660): G-minor suite T. Campion (1567 – 1620) - It Fell on a Summer's Day C. Hume (1569 – 1645): Musical Humours - extracts G. Dowland (1563 – 1626): Flow my tears, Frog galliard Dear, if you change Come Heavy sleep Come again, sweet love

Sunday, 14th of July, 19.00 Csíkszereda, Courtyard of Miko-castle (in case of bad weather: Trade Union Arts Center)

The Early Folk Band The Ballad of Robin Hood Robin Hood was born in songs and his legend became known throughout the world. The earliest English ballads and the earliest printed books tell his story. The life and death of this mythical folk hero are the topic of the latest program of the Early Folk Band. His story is revived through dancing, fighting, flirting and crying during the concert. In this program, the "Early Folk Band" performs songs and ballads of Robin Hood, Little John and Lady Marian. The ensemble presents an excerpt of the "Play of Robin Hood" from the 13th century, “Tunes and Dances” from a British Isle. The earliest Danish ballad – the ballad of Olov Strangeson highwayman – is performed by ballad singer Miriam Andersén, giving his best to revive Nottingham and Sherwood Forest - the home of Robin Hood – which was occupied in the early Middle Ages by the great Viking army and were ruled for centuries by Scandinavian settlers who had great influence on their culture and language. „Riksspelman” Miriam Andersén world-class Swedish interpreter of ballads from her native Sweden and the British Isles, is also the performer playing the rare Swedish instrument “Grifflochkuhhorns”. Gesine Bänfer from the Black Forest and Ian Harrison from Newcastle on the North Sea coast of England have given on their Old Northumbrian Small Pipes new standards. Susanne Ansorg is one of the most famous violin and ballad expert. The English Steven Player, now a Swedish citizen, is not only a virtuoso baroque guitarist, but also a talented dancer and comedian as well.

MIRIAM ANDERSÉN - Voice, harp, bones, GESINE BÄNFER – Old Northumbrian bagpipes, recorder, dulcimer, cittern, percussion intruments, IAN HARRISSON – Old Northumbrian bagpipes, harp, recorder, SUSANNE ANSORG - Fiddle, tambourine, STEVEN PLAYER Renaissance guitar, dance Sunday, 14th of July, 20.30 Courtyard of Mikó-castle (in case of bad weather: Trade Union Arts Center)

Renaissance Dance Hall with Kovács Gábor Concerts(kihelyezett)?: küldi Saturday, 13th of July, 18.00 Gyergyószárhegy, Lázár Castle

Lyceum Consort LA SPANIA (Spanish Renaissance music from the 16th century) The title of the festival program presented by the LYCEUM CONSORT ensemble originates from the “La Spagna”, a very popular tune that spread during the Renaissance period under diverse forms across entire Europe. With this compilation of musical pieces, we wanted to show that in southern Europe, besides the “il dolce stil nuovo” of the Italian rinascimento, in the 16th century a self-standing and original Spanish music has developed, which presented various genre and forms in its stylistic maturity. Besides the sacred and profane vocal pieces, musical mystery plays that stand at the basis of Spanish dramatic arts, the instrumental musical literature was also rich and diverse, and a great number of valuable fundamental theoretical works have been published. The main poetry and musical documents of this century are represented by the Cancionero volumes. The 16th century gave several (both known and anonymous) composers whose works are representative for Spain, but also for the entire European musical history. They have inspired even composers working in Italy and the Low Countries, then under Spanish influence, like Giaches de Wert. The compositions of Spanish musicians from the 16th century are characterized by the formal rigorousness, solemnity, equilibrium and ”grandezza”, but under which lies a strong passion, melancholy and ecstasy. Also in the compositions of the Rome school representative and Palestrina’s disciple, Tomás Luis de Victoria comes through the exaltation of the Spanish

mysticism that foreruns already the religious Counter-Reformation. Our program, built in an apparently puritan manner solely on the use of the compact sonority of a blockflöte consort aims to transmit this dark tension. The live coal under the ash.... Members of the LYCEUM CONSORT ensemble: KATALIN IZSÁK, ZSÓFIA NAGY, ÁGNES ÖLLERER (artistic conductor), KINGA ÖLLERER, PAVEL POPESCU, IZABELLA STĂNESCU, SZABOLCS VERESS

Program Propiñan de Melyor (Anonymous, 1500) Tiento - Antonio de Cabezón (1510-1566) La zorrilla con el gallo (Anonymous, 1500) Fantasie (Anonymus, 1500) Ojos claros y serenos (Francisco Guerrero, 1528-1599) La Spagna in re (Anonymous, 1480) Alta, sobre ,,La Spagna" (Francisco de la Torre, fl.1483-1540) La Spagna in re (Hans Buchner, 1483-1538) No tienen vado mis males (Juan del Encina, 1468-1530) En memoria d'Alixandre (Juan de Anchieta, 1462-1523) Caligaverunt oculi mei (Tomás Luis de Victoria, 1548?-1611) De qué sirven ojos morenos? (Giaches de Wert, 1535-1596) Ora baila tu (Anonymous, 1510) Saturday, 13th of July, 19.30 Gyergyószárhegy, Lázár castle

Flauto Dolce Early music from Romania (17th-18th cent.) In the repertoire of Flauto Dolce we encounter the bulk of 17th and 18th century’s early music. We can hear a selection from the less familiar musical pieces from the notorious Codex Caioni. A curiosity of the programme is the Hasidic Songs from Maramures as well as the traditional Armeanian Songs. The latter is a fresh adaptation of the ensemble. As a novelty, from the wellknown Saint George Manuscripts (1757), a trio sonata from the famous western-European composer, G. PH. Telemann, can be heard. The compilation mirrors the variegation of the contemporay music. It contains the masterpieces of several Hungarian, Romanian, Saxon, Armenian and Jewish culture ZOLTÁN MAJÓ – Recorders, Artistic Director, MÁRIA SZABÓ – Recorders, NOÉMI MIKLÓS – Harpsichord, MIHAELA MAXIM – Soprano, Program

Codex Caioni (17th cent.): Fantasia La Romana (Orazio Tarditi, 1602-1677) / Salve Regina (Anonymus) / Jubilate Deo (Lodovico Viadana, 1560-16 27) Codex Caioni: Fantasia (Alessandro Grandi, 1586 -1630) / Benedictus (Alessandro Grandi) Gabriel Reilich (1643-1677): Two German Songs: Keine schönheit hat die Welt / Wo ist der Schönste (Nagyszeben/Hermannstadt, today Sibiu, 1677) Anonymous (Maramuresh Region, 18th cent.): Hasidic Songs: An’im zemiros / Ba-bam / Eil ochod / Geshem (Arrang. by Zoltán Majó) Anonymous: Old, traditional Armean Songs (Szamosújvár/Armenopolis, today Gherla, Kolozs megye) (Arrang. by Zoltán Majó) Johann Sartorius (1712-1787): Two Airs: Ach, süßes Wort / Bist Du, der da kommen soll? (Nagyszeben, Hermannstadt, today Sibiu) Georg Philipp Telemann (1681-1767): Sonatina Allegro-Aria moderato-Allegro (Ms. from Sepsiszentgyörgy, 1757) Anonymous (18th-19th cent.): Two Romanian Songs (Arde-mă / Mititica) and Old Romanian Dances (Moldavia and Walachia) (Arrang. by Zoltán Majó) Franz Pfeifer: Hungarian Song (Tartózkodó kérelem) (Text: Csokonai V. Mihály) / Anonymous: (Ms. from Saint George, 1757): Dances (Arrang. by Zoltán Majó)

Sunday, 14th of July 14. 19.00 Csíkdelne, Szent János Church

ERICH TÜRK-orgue Early Baroque - European Journey

The Transylvanian landscape is rich in baroque orgues of different sizes. These instruments, built in the middle of the 19th century in rural churches, are a valued heritage still barely cherished by the pros and the public. In spite of the fact that they have no pedals and Bach – works can not be played on them, as on the orgues from the 19th and 20th centuries, smaller orgues shouldn’t be seen as unsuitable, incomplete instruments. The rich repertoire of the Early Baroque period gives an excellent base for highlighting the values of these instruments.

Program Girolamo Frescobaldi (1583-1643): Toccata quinta Canzona prima Codex Caioni (17th century): Dance suite Georg Muffat (1653-1704): Toccata Sesta Jan Pieterszon Sweelinck (1562-1621): Mein junges Leben hat ein End- variations Fantasia chromatica Dietrich Buxtehude (1637-1707): g-moll preludium BuxWV 163

Performers: Éva BODROGI received her Master’s Degree as an early-music performer with a scholarship at the Guildhall School of Music and Drama in London, where she was the student of Susan McCulloch, Emma Kirkby and Nancy Argenta. Afterwards she obtained her master’s degree at Miskolc, where she had as her proffessor Katalin Schultz. In 2000, while staying in London, she won second prize in the “German Song” Singing Competition. It was partly this prize that led her to singing several opera roles as a member of the Palladium Chamber Opera Company, such as a nymph in Hypolite et Aricie by Jean-Philippe Rameau, the leading roles of Actéon by Marc-Antoine Charpentier, Alcina by Georg Friedrich Handel, Clarice in Il Mondo della luna by Joseph Haydn, and Juliet in I Capuletti e i Montecchi by Vincenzo Bellini. She has made several CD recordings for Hungaroton and Nexon, from which the Hummel works, conducted by Domonkos Heja obtained the “Choc” title from the French magazine „Le Monde de la Musique”. László BORSÓDY was born in 1965 and began palying the trumpet at the age of 10. In 1988 he obtained his degree as a trumpet-player at the Liszt Ferenc Music Academy. In the same year he obtained the scholarship of „Magyar Tudományos Akadémia Soros Alapítványa” and continued his studies at the Ancient Music at the Royal Conservatory of Hague in Netherland. His master were: P. Masseurs, S. Williams, Fr. Bruggen, S. Kuijken, J. Ogg. Presently he performs and records CD’s as a soloist and chamber musician with a variety of ancient music orchestras. Since 1989 as member of the Pro Arte Serenissima Chamber Orchestra (Italy), he performs in European countries such as Austria, Germany, Italy, France, Spain, Belgium, Holland, England and also

Israel, Argentina and Brazil.Since 1990 he has been recording and performing with the Ancient Music Orchestras Capella Savaria and Concerto Armonico. In 1991 he creates and leads the Sonatores Pannoniae.In 1993 Borsódy starts a Europe round tour performing as a soloist in concerts II. Brandenburg of J.S. Bach. 1994 he perform as a soloist with the Budapest Festival Orchestra directed by Ivan Fischer. His interpretations of Concert of II. Brandenburg (J.S. Bach) are very famous. In 1996 he made Cd recordings with Hungaroton Classica. In 1997 le left on a concert tour in Brazil and Argentina and taught in Buenos Aires the technics of baroque trumpet. In 2004 he was given the Bálint Balassi Memorial Award of the Hungarian Ministry of National Cultural Heritage. In 2011 he performed an acclaimed concert and hold master class in the festival of Campos de Jordao, in Brazil. István CSATA obtained his doublebass degree at “Gheorghe Dima” Music Academy in Cluj Napoca. Currently he is a member of Transylvania State Philharmonic Orchestra. His first encounter with early music and with viola da gamba were as an autodidact. Later he studied under the direction of László Ilse Herbert. Soon after he attended Master courses in Switzerland, studying viola da gamba with Guido Balestracci and basso continuo with Pierre-Alain- Clerc. He participated on several master’s courses with chamber music and solo repertoire under the guidance of Bruno Cocset, Hervé Douchy, Mira Glodeanu, Jan De Winne and Françoise Lengellé. He collaborated with early music ensemlbes from inland and abroad, like Ausonia (Brussels), Il Gardellino (Brugge), Chanterelle (Cluj Napoca). He is a charter member of Fonte fi Gioia baroque music ensemble. He fulfills the invitations to national and international concerts. Sam CHAPMAN grew up in south-west England. He studied early plucked instruments with Elizabeth Kenny at the Royal Academy of Music, London, where he won the Julian Bream Prize and the Robert Spenser Award. With the help of an award from the Leverhulme Trust he continued his studies with Hopkinson Smith (lute) and Jesper Christensen (basso continuo) at the Schola Cantorum Basiliensis (Switzerland) where he has been a repetiteur for lute since 2008. He is also a fully-qualified Alexander-Technique teacher. He has performed at many early music festivals across Europe and can be heard on numerous CD recordings. In 2008 he founded his own ensemble “The Queen’s Revels“, to research and perform English music from the Renaissance. Rumen István CSÖRSZ was born in 1974 in Budapest. Csörsz has studied cello, kobsa and bagpipes at the Folk Music School in Óbuda with György Lányi and Tamás Kobzos Kiss (19851992), and took in several Renaissance master classes taught by László Czidra in Keszthely. He learned many other historical instruments in private. His academic studies began at the ELTE Secondary School Radnóti Miklós (Practising school of the Eötvös Loránd University) where he focused on History and Literature. He graduated in 1997. In 2000-2001 he was a recorder teacher at the Weiner Leó Music School in Budapest. He has since gone on to receive a fellowship for young scientists at the Institute of Literary Studies of Hungarian Academy of Sciences in the department of 18th century literature. Csörsz is currently researching ancient Hungarian sung poetry, the variations and traditions of the autograph, and metric and melodic systems of printed popular poetry from the 18-19th century, and its musical and literary relationship with the MiddleEuropean folk. He took his PhD in 2004. He is the author of several books and articles and since 1997 he has been the chairman of the Musica Historica Cultural Association. Apart from Musica Historica, Csörsz has worked with several musical groups (Csobán, Zabula, Carmina Danubiana), other soloists, (Tamás Kobzos Kiss, Katalin Juhász, Claude Flagel, Tamás Csányi), and has given solo recitals as well. He also wrote theatre music, for example, to the medieval marionette-play Story of Snow White and to the interpretation of The Prince and the Pauper (Dir. László Rumi, 2001, 2004).

Mária FÜLÖP was born in Saint George. She began her musical studies at the age of nine at the School of Arts in her town. She began her college educations at the „Gheorghe Dima” Music Academy in Cluj, with the speciality of musical pedagogy where she continued her studies of piano. In the same time she manifested her interest in early music by studying harsichord with the guidance of professors Katalin Botár and Dr. Erich Türk. In 2004 she obtained a scolarship with a programme of „Erasmus” at the Faculty of Music of Trossingen (Germany) where she continued her harpsichord studies with the guidance of the professors Franz Dieter Weitz and Marieke Spaans. In 2008 she applied for admission to the Academy of Early Music Schola Cantorum of Basel (Switzerland) where she earned the master’s degree in harpsichord with the guidance of professor Jörg-Andreas Bötticher. At present she attends a new course of master’s degree in Leipzig and she is having as professor the reputed harsichordist Nicholas Parle, and she teaches at the same institute harpsichord and basso continuo. She continues her professional activities as a music teacher and as an organist in Basel. During the years of studying she attended several courses in Hungary, Romania, Austria and Germany with the guidance of famous professors such as Jesper Christensen, Jacques Ogg, Nicholas Parle, Marieke Spaans, Bob van Asperen, Spányi Miklós and Franz Dieter Weitz. As a solist she participated at many musical festivals and she collaborated with ensembles of chamber music of Switzerland, Hungary, Austria, Germany and Romania. Roland KASZA - after elementary percussion and piano studies, Kasza studied percussion at the Secondary School of Arts in Szombathely (western 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. From the autumn of 2003, he has been a student at the Conservatoire Royale de Bruxelles. Kasza now works in the Weiner Leó Music School in Budapest as leader of the percussion department. Since 1999 he has lead a percussion class at the Bethlen Gábor Secondary School. His pedagogic career has been proven by his many pupils' concerts, TV appearances and radio recordings at home and abroad. With the Chamber Choir of the National Széchényi Library and his students, Kasza performed Missa Luba (a classical mass with African folk music motives). Since 2000 he has been a member of the Ensemble Canlar playing Turkish classical music. He has also worked as a church organist at liturgical events and a percussionist with several symphony orchestras and ensembles (Zabula, Péterfy Bori and Love Band, Kistehén Tánczenekar) in Hungary. He has been a member of Musica Historica since 1995. Tamás KOBZOS KISS was born in 1950 in Debrecen, Hungary, in a Transylvanian family on his mother’s size. His father Tamas Kiss was a poet and a writer. After a few years of studying the piano, he continued his studies privatly, than started playing the guitar, lute, and folk instruments (lute, hurdy-gurdy), first of all to accompany his songs. From the early 1970’s, he has been equally interested in authentic folk music and old Hungarian bard-songs. He ecame a member of the „Delibab” ensemble in Debrecen, then after 1974 he played in different ensembles (Kalaka, Bakfark Balint Trio, Kecskes) for a short time. He made the recording „Reneszansz zene Erdelyben” (Reneissance Music in Transylvania) with the ensemble of L.Kecskes Andras in 1979. As a solist he has had several concerts in European countries, but he has also sung in Japan and USA. He collaborates with the Janosi and Clemencic Consort ensembles, as well as with musicians Gyorgy Szabados, Michael Montanaro and Erdal Şalikoglu. This year sees the 18th participation of Tamas Kiss Kobzos at the Early Music Festival in Miercurea Ciuc. He is the principal of the Folk Music School in Obuda. In 2009 the local government of Buda awarded him the „Óbuda Kultúrájáért Prize”; in 2010 he received the Szenci Molnár Albert award and in 2011 the Liszt Ferenc Award. Tamas Kiss Kobzos is a regular performer at the Early Music Festival in Miercurea Ciuc.

István KÓNYA, born in Nagykanizsa, Hungary, obtained his first diploma in History and Music in 1985, while boardening his training with studies in classical guitar. In 1989 he joined the lute studio of Toyohiko Satoh at the Royal Conservatory of The Hague. There he gained his lute diploma in 1994, being the first Hungarian lutist to achieve such a distinction. In addition to renaissance and baroque lutes, he plays the archlute and the chitarrone. Obtaining his chamber music degree in 1996 at the Royal Conservatory of The Hague, he attended master classes with Nigel North and Steven Stubbs. Since 1993 he has been a lute teacher at many early-music courses in Hungary; like Savaria Early Music Week (1993), Musica Antiqua Apud Danubium/Szentendre (1994-1996), Early Music Course/Bükk (2002-2004), Early Music Course for Singers & Luteplayers/Székesfehárvár since 2007; teacher and artistic director of the "Early Music Summer Academy" in Szombathely (1996-1998), of the „Savaria Early Music Cource” since 2005, of the International Lute & Guitar Festival in Győr/Hungary since 2006. Kónya has performed in all the Hungarian Early Music Festivals: Early Music Week Sopron, Budapest Baroque Festival, East-European Early Music Festival, Dutch-Hungarian Baroque Music Festival, Early Music Forum Budapest, British Early Music Festival (Budapest), Artistic Days of Zemplén, Savaria Carnival and Gödöllő Baroque Days. He is a frequent guest at the Spring, Summer and Autumn Festivals of the Provinces. He gave recitals in most of the major Hungarian cities and in the prominent castles (Gödöllő Royal Palace, Fertőd Esterhazy Castle, and Buda Royal Castle). Besides his recital engagements in Hungary, Mr. Kónya has appeared at many prestigous festivals abroad with leading ensembles. In 2000 Mr. Kónya has launched several solo series in Budapest introducing the solo and chamber repertoire of the lute. Since Summer 2002 he has had a monthly concert series in the Buda Royal Castle, performing the unknown pearls of the Hungarian, Italian, English, French, German, Austrian, and Eastern-European renaissance and baroque music. In 2002 he participated in two international tourist exhibitions introducing Hungarian renaissance music in Norway and Switzerland. He made his recital debuts in the United States with Timothy Bentch (tenor) in 2003 with great success. In 2004 with his hungarian renaissance chamber program he visited several cities in abroad (Berlin, Stuttgart, Prague, Tallin, Sophia). In 2004 he took part in the Estonian Early Music Festival (Tallin) with two solo recitals, in 2006 with a chamber program at Tarnow Festival (Poland) and at the International Organ Festival in Pula (Croatia). He made numerous radio and television records, participated several CDs, and also released two solo albums, "Lute Music from Three Centuries" (2000) and "S.L.Weiss: Lute Suites" (2002). Gábor KOVÁCS was born 1966 in Pécs (Hungary). He followed his musical studies at the Artistic High-School in Pécs, then at the Franz Liszt Academy of Music, where he took his singing- and chorus-master qualification in 1990. His studies of renaissance and baroque dances he took in London, as a disciple of Madeleine Inglehearn. In 1992 he got the diploma of the Guildhall School of Music and Drama. In 2006 he held his PhD thesis at the Queen's University Belfast. Since 1998 Gábor Kovács has been a teacher at the Juhász Gyula University of Szeged, Teachers Training College and the chorus master of this. He is a charter member and leader of the Al Fresco Early Music Ensemble and the Canticum novum chamber-chorus in Szeged. He held concerts and master classes in Austria, Transylvania, Finnland, France, Izrael, Germany, Italy, Spain, Sweden, Serbia-Montenegro, Slovenia and Slovakia. In 1997 and 1999 appeared his two publications about renaissance and baroque dances, which are the first comprehensive works in Hungarian. Gábor Kovács research field contains the connections between dance-cultures of Hungarian and Western-European courts in the 17th century. Results of these researches are to be found in his PhD thesis, presentations held at different conferences and in periodical-articles published by the European Association of Dance Historians. Mihaela Maxim is soloist of the National State Opera from Cluj. She graduated from the Gheorghe Dima Music Academy in Cluj and participated at different master classes with Lucia Stănescu (1992), Corneliu Murgu (1998, 1999) and Mariana Nicolesco (1998, 2002 and 2004).

She was awarded in different national and international singing competitions: „Magda Ianculescu” (Bucharest, 1999), „Sabin Drăgoi” (Timisoara, 1999), „Ionel Perlea” (Slobozia, 2000), „Hariclea Darclée” (Brăila, 2003, 2005). Thanks to her interest in early music, she completed her studies in Early Music in 2008 in Norway (Trondheim) with Jan van Elsacker and in Austria (Krieglach) with Mieke van der Sluis. Réka PALÓCZ, the soprano soloist of the Ensemble Musica Historica is an experienced choirsinger. She has performed several solo parts with the Bartók Béla Choir of the Eötvös Loránd University of Budapest, touring with them for years. As the sound building teacher of the choir and leader of music camps she has proved her excellent pedagogic sense. After her final examinations in the ELTE Secondary School Radnóti Miklós (Practicing school of the Eötvös Loránd University), she became a student of mathematics and descriptive geometry at the same university. She graduated in 1996 and was admitted to the Secondary School of Music Bartók Béla in Budapest. She studied singing with Zsuzsa Németh and went on to study at the Music Faculty of the Széchenyi István University, Győr with Judith Németh. She was a regular participant of the master classes of Júlia Hamari, Anna Reynolds and Ilona Adorján. She graduated in 2001 and has been a member of the Ensemble Musica Historica since 1994. Balázs SUDÁR started his musical studies with the kobsa (Romanian and Hungarian plucked folk instrument) at the Folk Music School Óbuda with Tamás Kobzos Kiss. Here he also took part in a one-year masterclass on the Turkish classical instrument, the saz, with Erdal Şalikoğlu from Istanbul. Later, on journeys to Istanbul, he took private lessons from Yusuf Benli who is a master of the saz (baglama) as well as teacher of music theory. After graduating from Secondary School Teleki Blanka in 1990, he studied history and turkish culture at the Eötvös Loránd University, Budapest. He worked there as an assistant teacher until 2003. Since the autumn of 2003 he is a member of the Institute for Historiography at the Hungarian Academy of Sciences as a recipient of a scholarship for young scientists. His researches are on Turkish asik poetry, the classical Islamic music theory, the cultural relationships of the areas of Turkish occupation, and in particular, the medium role of the bektashi dervish order between the two cultures, and the history of MiddleAsian instruments. Author and co-author of several books, both his treatises and translations have been published. PhD (2004). He was a member of the Musica Historica ensmeble since 1990 till 2011. Apart from playing music, he directed the medieval french comedy Aucasin and Nicolete (1993) and has made several reconstructions and copies of early instruments. In 1997 he founded the Ensemble Canlar which is specialized in turkish classical and folk music. He occasionally guests with other groups as well. Anikó SZABÓ graduted from Babeş–Bolyai University’s Faculty of Computer Science in Cluj and is currently working as a technical editor at „Sunday” newspaper. As a child she attended gymnastics courses and later she graduated from the ballet-school in Satu-Mare. During her years as a student at the university she became interested in early music and dances and since then she has participated in several Reneissance dance courses in Bucharest, Cluj, Hungary and France. She was a member of Amaryllis, Passamezzo and Passeggio ensembles. She was also keen on folk dance and between 2004-2006 was a member of Ördögtérgye folk dance ensemble in Cluj-Napoca and sang in choirs such as Schola Gregoriana Calviniana, Unicante, Schola Gregoriana Monostorinensis. She has collaborated with numerous Early Music ensembles/performers: Musica Historica (Budapest), Codex (Miercurea Ciuc), Musica Profana (Budapest), La Follia (Timi oara), Collegium (Carei); Flauto dolce (Cluj-Napoca); Jean-Pierre Menuge (France); Veljko Nikolic (Serbia), Andrej Jovanic (Serbia), Ion Minoiu (England), Tamás Kobzos Kiss (Budapest), Erich Türk (Cluj-Napoca).

Mária SZABÓ graduated from Gh. Dima Music Academy in Cluj (music education and recorder, with master in musicology). She attended numerous master classes abroad (Peter Holtslag Budapest andTrondheim / Norway, Marion Verbruggen - Karlsruhe, Sabine and Tuomas Kaipainen - Thun / Switzerland, Michael Oman - Krieglach / Austria). She has a significant and intense concert activity. She is a founding member of the ensemble Flauto Dolce from Cluj. In 2003 she won the 1st prize at the Musicology section of the Hungarian Scientific Congress for Students, and was awarded with the Pro Arte Gold Medal by the Hungarian Scientific Association for Students. In 2013 she was awarded 2nd prize together with the Les Ramages ensemble at the La Stravaganza Baroque Music Competition. Currently she is teacher at the Waldorf School in Cluj. Zoltán SZÉPLAKI was born in 1972. He started his musical studies in the Dohnányi Ernő Music School in Budapest, playing the piano, the flute, and the recorder. After graduating from the Szent László Secondary School, he studied chemistry at the Eötvös Loránd University in Budapest. He earned his musical diploma (recorder) in 1999 at the Early Music Faculty of the Conservatory in Szeged as a student of László Lőrincz. He has participated in several International Baroque recorder master classes with Anneke Boeke and Peter Holtslag. In 1997-98 he taught at the Weiner Leó Music School in Budapest. In 1998 he went on to work at the Bartók Béla Music Institute and Secondary School in Miskolc (eastern part of Hungary) as recorder teacher. For the last several years he has been a guest professor at the universities in Debrecen and Nyíregyháza. He is a regular jury member and expert at the National Recorder Competition and similar festivals and teacher-training master classes. Since 1995 he has been a member, and later leader of the Massaino Consort, as well as founding member of the Early Music Ensemble Miskolc. He’s been a meber of Musica Historica Ensemble since 1990. He also performs as soloist or member of other groups at home and abroad. Beside music, he is a member of the selected Hungarian archers' team and a national record-holder, winning the Hungarian championship in 1992. Guido TITZE was born in Cottbus, Germany, where he received his first musical training. He studied at the Dresden College of Music with Andreas Lorenz (oboe) and Siegfried Kurz (composition). In 1982 he was appointed Principal Oboe of the Staatskapelle Weimar and took up the same position in the Dresden Philharmonic Orchestra in 1985. He has been playing the baroque oboe since 1989 and is a founding member of the Dresden Baroque Orchestra. Guido Titze is in great demand as a soloist on both modern and baroque oboe. He has made numerous recordings with the Dresden Baroque Orchestra, the Academy of Ancient Music Berlin, the Weimar Baroque Ensemble, Virtuosi Saxoniae and the Dresden Wind Quintett, among others. Guido Titze has taught at the Dresden College of Music since 1995. At the Summer University of Early Music he is teaching baroque oboe master classes for the sixth time. ULRIKE TITZE studied violin in her natal town at the Music Institute of Dresden. This was followed y four years of collaboration with the Staatskaplle in Weinmar. Since 1986 she has been playing only the baroque violin. Ulriche Titze is charter member and concertmaster of the Baroque orchestra from Dresden. For years she taught the violin at the Hochschule für Music Carl Maria von Webber, Dresden. At the International Bach Academy she worked with Romanian and Ukrainian students several times. She is devoted to chamber music, responds to different orchestra’s invitations (Berlin Academy for Early Music, Baroque Orchestra Stuttgart, etc). This year he gives courses of baroque violin for the fifth time in Miercurea Ciuc and is also the artistic conductor of the Baroque Festival Ensemble. Erich TÜRK (born in 1972) studied organ at the “Gheorhe Dima” Music Academy in Cluj with Ursula Philippi and at the University Of Music And Performing Arts in Vienna with Michael Radulescu. He also studied the harpsichord with Ilton Wjuniski and Gordon Murray. He

participated at several master-classes for organ, harpsichord and basso continuo in Portugal, France, Germany, Switzerland and Moscow. Between 1995 and 1999 he was organist and choir conductor of the Evangelical Church in Mediaş. Since 1995 he has been teaching organ, harpsichord, organology and chamber music at “Gheorhe Dima” Music Academy in Cluj. As soloist and as a member of the Baroque Ensemble “Transylvania”, the Balkan Baroque Band and other chamber music ensembles he performed in Romania as well as most of the European countries. He made radio, TV and CD recordings, and with the Baroque Ensemble “Transylvania” he realized a documentary DVD on Transylvanian music. Erich Türk is involved in early music revival and period instrument research, being a frequent guest of Romanian early music festivals. He founded the TransylvANTIQs- label dedicated to local music culture. He also premiered several contemporary music pieces by Romanian composers. At the international “J.S. Bach” Organ Contest in Bruges 2000 he has been awarded the 2nd prize and the public’s prize. PIROSKA VITÁRIUS graduated from The Liszt Academy of Music in 1995. She has participated on several early music courses throughout Europe. She taught baroque violin and chamber music at The Liszt Academy of Music, performed in Concerto Armonico and was a charter member and concertmaster of Orfeo orchestra. Presently she is the concertmaster of Savaria Baroque Orchestra, the member of Musica Profana and Tercina ensembles and teacher of baroque violin at Reneissance and Baroque Week in Győr. She is the soloist of several national and international concerts and CD recordings. Ensembles: BAROQUE FESTIVAL ORCHESTRA Playing baroque instruments, the memebers of the orchestra are musicians from Romania, acclaimed in professional circles, some of whom are performing abroad. Formed specifically for the festival, this will be the orchestra’s fourth performance. The initiative, which comes as a novelty on local level, seeks to integrate instrumentalists from various smaller chamber orchestras for a high quality concert. The initiator of the orchestra was Ignác Csaba Filip, who is also the festival’s artistic consultant. The musicians involved, as well as the artistic director and concertmaster, Ulrike Titze’s person are a guarantee for a high musical event. We would like to express our acknowledgement to COT firm for the given assistance. SONATORES PANNONIAE wind-music ensemble was founded in 1991 with the guidance of László Borsódy. They play the Baroque music of 16-17th centuries. The ensemble’s strong sense of belonging is due to the music and the friendship between the members as well. The ensembles’s aim was to perform authentic music in a way so as the audience does not feel like being in a museum, or in a dusty library, but as in a time travel in their concerts or while listening their recordings. Sonatores Pannonie is the only authentic brass instrument ensemble in Hungary which is a curiosity throughout Europe as well. During the years of its existence, the ensemble has cooperated with numerous Hungarian early music ensembles and participated in several international festivals too. The members play the trumpet, kornett, as well as baroque trombone, usually accompanied with orgue positiv, lute and percussions. Their concerts are often accompanied by string intrumentalists and soloists and they have also performed marvellous concerts with the contibution of choirs too. PASSEGGIO DANCE ENSEMBLE from Cluj-Napoca (Romania) is trying to rediscover the dance, the costumes, the social behavior and the ways of spending leisure time from the European region, during the13th–19th centuries. The performances designed by choreographer Csilla Juhász are very diverse, so the public is surprised whenever watching: sometimes they have authentic presentation of the dance, other times they combine original dance steps and rearrange them so

that the salon dance to be adjusted for the scene. The distinct element of their performances is the attempt to give a storyline for the entire presentation, the aim to interpret small sketches using dance steps. The costumes sown by the members are attentively documented. Furthermore, they avoid the creating of "uniform" costumes and try to turn every outfit into a unique piece of art. The ensemble gladly attends medieval festivals, historical events or private events (proms, anniversaries, weddings) BAROQUE ENSEMBLE „TRANSYLVANIA” from Cluj consecrates itself to Transylvanian baroque music since 1995. Although using copies of period instruments, it also promotes contemporary Transylvanian music and has premiered works by Hans Peter Türk, Adrian Borza, Dan Voiculescu, Adrian Pop and Cornel Taranu. The ensemble´s activity is documented by five CDs and one documentary DVD about Transylvanian music, radio and TV- broadcasts as well as a brisk concert activity (ca. 500 performances). This accounts besides appearances at Romanian festivals, top-class receptions and state ceremonies especially the numerous concert tours abroad (Germany, Netherlands, Austria, Switzerland, Italy, Belgium, England, Portugal, Hungary, Moldavia). All members of the ensemble are graduates of the „Gh. Dima" Music Academy in Cluj and continued their studies abroad. Playing also in various other chamber music groups, they diligently perform throughout Europe. Zoltán Majó, a restless promoter of indigenous early music, is also founder and conductor of the Recorder Ensemble „Flauto dolce". He teaches at the "Babes-Bolyai" University in Cluj. Mátyás Bartha won several awards at chamber music competitions. He collaborates with the Zürcher Streichquintett, Euler Quartett Basel, Swiss Baroque Soloists, etc. and is permanent member of the Basel Sinphonieorchester. Ciprian Câmpean is member of numerous baroque ensembles and chamber music groups (La Follia, Napocelli, etc.), as well as of the Cluj State Philharmonic Orchestra. CODEX early music ensemble was founded in the autumn of 1996 by music teachers and students of Transylvania University from Saint George, Brasov and Miercurea Ciuc.Their main goal is to give an authentic rendering of the Hungarian (especially Transylvanian) and European music from the 15th-19th centuries, using authentic instruments. The members of the ensemble have learnt from numerous internationally acclaimed musicians at different international master classes: Innsbruck, Utrecht, Karlsruhe, Sopron, Szeged, Szombathely, Szentendre, Budapest, etc. KÁJONI CONSORT old music ensemble was established in December 1988 in times when others were leaving Transylvania for a better life and to ensure a better future for their children. The ensemble is under the auspices of the Gaál Mózes Public Education Association since 1994 and was brought to life by 12 passionate composers. To endure the monotony of everyday life and the nearly hopeless present and future they have chosen to make music, above all the Renaissance music, for shelter and in the hope of renewal. Their repertoire includes secular and religious vocal and instrumental compositions of composers of the early Baroque and Renaissance periods. They have played not only pieces collected and noted down by Kájoni János, the person giving his name to the ensemble, and other Transylvanian composers of the age, but they lay a special emphasis on presenting works by composers of other regions, thus wandering together with their audience over Europe with the help of the music. They are regular participants in old music festivals in Csíkszereda and Segesvár and have received a great number of invitations. In 2008 the group took part in a concert tour in Western Europe (Vienna, München, Paris, London) propagating Transylvanian and Renaissance music. In 2008 the group celebrated it’s 20th anniversary in the company of other Transylvanian old music ensembles. They were awarded the “For the Culture of

Erdovidek” award by the Gaál Mózes Public Education’s board of trustees. Also on this occasion, they received EMKE’s honorary diploma for their excellent performance in evoking Transylvanian and European Renaissance music. In 2009 they established the “Kájoni Consort” association to ease the possibility of projects and availability. They organize the Reunion of Old Music in Erdovidek in the Daniel Castle in Olasztelek since 2011 to which other Transylvanian ensembles are also invited. On the 20th anniversary of the ensemble, the Tinódi Award holder old music composer Deák Endre characterized the group: “Playing music for us is not only about filling our free time, it’s a way of living, it’s the understanding of an era in the history of music and the immersion in it, that intellectual interest which so much needed by our national identity.” CANTICUM NOVUM chamber choir was established in 2000 in Szeged with the guidance of Gábor Kovács. Their repertoire embraces pieces from early music as well as master pieces of contemporary musicians. They have been internationally awarded. Besides their local concerts and CD/radio recordings they have performed in Poland, France, Austria, Switzerland and Spain as well. Since 2012 the choir has shrunk and the new smaller choir is continuing the activity. LYCEUM CONSORT is an amateur early music ensemble consisting of young people from Bucharest. Their fundamental aim is to study medieval and Reneissance music, its performance and its propagation. During the fifteen years of its existence, the ensemble has had more than three hundred concerts in different settlements of Romania, as well as in Hungary and Germany. They often participate at the Miercurea Ciuc and Sighisoara Early Music Festivals and at several other artistic events with a similar character. The ensemble has been awarded several prizes at musical competitions. A number of radio and television recordings have been made of their performances. The MUSICA HISTORICA ensemble was founded in Budapest in 1988. In addition to classical and early music instruments, its members also dealt with Hungarian and Eastern European folk instruments. The background for the work of the ensemble is provided by serious research; for example, the examination of the relationship between Hungarian and Central European music in the 15th–19th centuries; sung poetry of the Middle Ages and the Renaissance; Hungarian poetry of the 16th–19th centuries; research into Baroque style problems. It is the belief of the members of the group that early music – given a knowledge of literature – is a genre open for experimentation. There are times when works composed several hundred years earlier seem very distant; children’s programmes and Renaissance dances, however, may bring them closer to us. Musica Historica is one of the most widely performed Hungarian early music ensembles. They have had more than 1100 performances throughout, as well as together with other formations of the early music scene. The group tours frequently to places such as: Transylvania (Romania), Slovakia, Austria, Italy (Musica Cortese Festival, Ferrara Buskers Festival), Poland, Germany (Kaltenberger Ritterturnier), Czech Republic and Turkey. They have also recorded for MTV (Hungarian Television), Duna TV, Hungarian Radio, the ORF and TV5 France. The ensemble has published six CDs, three audiotapes and has cooperated on several audio-anthologies. •

FLAUTO DOLCE ENSEMBLE founded in 2000 in Cluj (Romania) by Zoltán Majó within the framework of the Gheorghe Dima Music Academy, in the idea of making the family of the instrument recorder (flauto dolce) and it's repertoire as well-known as possible in Romania. The main goal of this ensemble is to present early and modern works of different recorder-settings. This means works from the Renaissance, Baroque, Rococo and music from the contemporary time. On the other hand the ensemble is also trying to reveal early Romanian music from different

old manuscripts and to present them to the public. The expressivity, unique, sweet and happy color of the instrument is emphasized by compositions dedicated to this instrument, by arrangements full of imagination. The soprano Mihaela Maxim contributes fully to convey the particular message that Flauto Dolce Ensemble it proposes to the public. In 2010 the Flauto Dolce Ensemble celebrates ten years of existence and the 200th concert, including those performed abroad (Hungary, Austria, Germany, Switzerland, Spain, Italy, Slovenia, Serbia and Slovakia). Lately, it organizes an early music festival in Cluj (Romania) each spring and is co-partner of an international (together with Italy, Slovenia, Romania) EU-financed early music project. CARMINA RENASCENTIA is an early music ensemble from Carei, a historic small town in the north-west of Transylvania. Founded in 2012 by the members of the former early music group Collegium , Carmina Renascentia aims to promote the spirit of the ‘early music workshop’ initiated by their late colleague and leader, Endre Deák in 1977. The ensemble performs both vocal and instrumental music from the Renaissance, including secular and religious pieces from Transylvanian, Hungarian, German, English, Flemish, Italian manuscripts and printed collections. Playing reconstructions of Renaissance instruments, they favour a style of interpretation characterized by musical vitality as well as authenticity. CUSTOS VIOL CONSORT In 2006, regarding the demand of the public and the structure of the repertoire, in Hungary a unique viola da gamba consort was founded within the Custos Consort Early Music ensemble. The foundation of the group was long overdue as it stops a gap in Hungary’s early music performing practice to play the 3-4-5 parts pieces. The repertoires are from early Renaissance Ages to the pieces of the baritone from the Classical Ages. After its establishment the Consort played in several productions, for instance on the CD of Orfeo Chamber Orchestra (conductor: Vashegyi Gy.), called Chr. Geist: Concerts in the church. In April 2010, they won the “Festival Prize of Standard” at the 16th Festival of Chamber Orchestras.

THE EARLY FOLK BAND The musicians of The Early Folk Band, all leading performers of 'early' music, have come together for a new project: the reconstruction of early folk music. Coming from England, Sweden and Germany the musicians bring with them the traditional music of their own countries as well as an enormous practical experience of the music of the Middle Ages, Renaissance and Baroque. They have won Grammys, Globale Ruths (Germany's top World Music prize), the Anders Zorn silver badge, and prizes from the Bruge Early Music Festival, the Rencontres des Maîtres-Sonneurs (France) and the German Rock and Pop Awards. Ballads, songs and dances from the British Isles, Scandinavia, Germany, Spain and Italy form the basis of the group's repertoire. Sources include early printed editions and manuscripts from the 13th to the 19th centuries as well as materials gathered from traditional singers and the group's own compositions and arrangements. 'Folk music' has always influenced 'art music' and vice versa. The vision of the band is to bridge the gap between early music and folk music for the 21st century. Renaissance and Baroque music from the south and traditional music from the north join in a unique European musical experience. Like the wind, music knows no boundaries in space and time.

Artistic consultant of the Festival

IGNÁC CSABA FILIP learnt fluting as a student of Ament Janos at the Art School in Targu Mures. He graduated the Academy of Music in Cluj Napoca, in the flute class of Gavril Costea, his chamber music professor was László Ferenc. He attended internationl master’s courses where he acquired the technics of flute and recorder (blockflöte) from teachers such as: Ulrike Engelke, Gerald Matschke, Gunter Pohl, Monika Kaminski, Anneke Boeke, Heiko Shegget, Paul Leenhouts, Karel van Steenhoven, Peter Holtslag and Lőrincz László. As member of the ensembles Cantus Serenus, Amaryllis, Georgius, Codex, Stravagante, he performed at many national and international chamer music concerts and in operas, too. Between 2001-2003 he was the musical conductor of the Tamasi Aron Theatre in Saint George, where he composed music as well. As a flute soloist he collaborated with a lot of philharmonic orchestras (Cluj Napoca, Targu Mures, Brasov, Oradea, the Orchestra of Bucharest Radio). He pulished two books of methodology in 1988, with the titles of „Furulyaiskola” and „Furulyamuzsika” which were reedited five times. He has got a lot of radio and television recordings. In 1994 and 1995 he made two CDs with the Anonymus Ensemble from Cluj Napoca at the Hungaroton publisher. In 2004 and 2006 he made discs that include Hungarian Baronial Music with the Codex Ensemble. Since 1996 he has been working as a professor at the „Transylvania University” in Brasov. In 2004 he obtained the doctor’s degree at the „Gheorghe Dima Academy of Music” and founded the Georgius Ensemble. Since 2008 he is the artistic consultant of the Early Music Festival from Miercurea Ciuc.

6th Summer University of Early Music July 7-12, 2013 1. 2. 3. 4. 5. 6. 7. 8. 9.

Zoltán Széplaki (Budapest) – recorder, flute Guido Titze (Drezda) – Baroque oboe Piroska Vitárius (Budapest) – Baroque violin Réka Palócz (Budapest ) – voice Mária Fülöp (Basel) – harpsichord István Kónya (Budapest) – lute and guitar István Csata (Cluj) – viola da gamba, basso continuo Balázs Sudár and Roland Kasza (Budapest) – percussions Rumen István Csörsz (Budapest) – Reneissance ensemble

Recitations: Tuesday, 9th of July, 16.00 Zoltán Széplaki: Parallelism between the history of the recorder and flute Csörsz Rumen István: Pálóczi Horváth Ádám and the „Ötödfélszáz énekek” (1813) Thursday, 11th of July, 16.00 Mária Szabó: Saint George Manuscripts (1757) Morning Reneissance Dance – Anikó Szabó (Cluj) Accompanying: Paul Alexandru Cristian (Brasov), Amalie Goje and Kostyák Csengeri Zsuzsa (Cluj) Translated by: Réka Gyergyay (Saint George)

Early Music Festival Csíkszereda Cultural Center of Harghita County Office manager: SZÁSZ HARGITA Artistic consultant of the Festival Dr. IGNÁC CSABA FILIP Program booklet edited by: Dr. IGNÁC CSABA FILIP Contribution: RUMEN ISTVÁN CSÖRSZ Branding, graphic design, make-up: GYULA ÁDÁM LÁSZLÓ BOTÁR Translation: RÉKA GYERGYAI In the aspect of the festival we used ANDRÁS MÉREY graphic artist’s graphic designs from 1980

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