Capella Sancta Maria and wind ensemble La Carravagia with Codex Lerma
Vocal and instrumental Renaissance polyphony from the famous Spanish Codex Lerma (1607).

Happy to be a guest again with Enrique López-Cortón and his ensemble!
The Codex Lerma is a 16th-century choirbook from Spain. It once belonged to the music library of the Church of San Pedro in Lerma (Burgos, Spain), founded by the Duke of Lerma in 1607. The document is now in the University Library of Utrecht. In addition to some unique works by Clemens non Papa and Cristóbal de Morales, the Codex Lerma contains mainly Franco-Flemish and Italian music. Some works are by practically unknown composers such as Jacopo Corfini or Giovan Leonardo Primavera. The most common composer in the manuscript is Orlando di Lassus. The Codex Lerma is one of the rarest sources of Lassus music in Spain.

Capella Sancta Maria and La Caravaggia (6 singers, 4 instrumentalists) perform the compositions from this codex as they must have once sounded in one of the great Spanish cathedrals.

www.codexlerma.com
https://www.capellasanctamaria.org/

Capella Sancta Maria and wind ensemble La Carravagia with Codex Lerma
Vocal and instrumental Renaissance polyphony from the famous Spanish Codex Lerma (1607).

Happy to be a guest again with Enrique López-Cortón and his ensemble!
The Codex Lerma is a 16th-century choirbook from Spain. It once belonged to the music library of the Church of San Pedro in Lerma (Burgos, Spain), founded by the Duke of Lerma in 1607. The document is now in the University Library of Utrecht. In addition to some unique works by Clemens non Papa and Cristóbal de Morales, the Codex Lerma contains mainly Franco-Flemish and Italian music. Some works are by practically unknown composers such as Jacopo Corfini or Giovan Leonardo Primavera. The most common composer in the manuscript is Orlando di Lassus. The Codex Lerma is one of the rarest sources of Lassus music in Spain.

Capella Sancta Maria and La Caravaggia (6 singers, 4 instrumentalists) perform the compositions from this codex as they must have once sounded in one of the great Spanish cathedrals.

www.codexlerma.com
https://www.capellasanctamaria.org/

Free America! Songs of Revolt and Rebellion (1790-1860)

Happy to be performing this program of Americana with my friends, the Boston Camerata!

This program explores, during a time when American ideals are undergoing such deep challenges, the vital and life-affirming sounds of the young Republic as its citizens sang and played forth their love of freedom and their rejection of tyranny. The rough-hewn sounds of citizen-composers, such as the Boston tanner Billings or the Vermont tavern-keeper Ingalls, still ring true and strong today. And Liberty’s early attendants -- feminists, abolitionists, freed slaves, Boston rascals and the insolent scallywags of "Yankee Doodle" all remind us that in our musical roots lies our true strength. Exhilarating part songs, marches, anthems, jigs, and ballads from early prints and manuscript sources in a program first commissioned by the Paris Philharmonie and first performed there last fall 2018 and now the subject of a new Harmonia Mundi CD.

REQUIEM of Johannes OCKEGHEM (+1497)

REQUIEM of Pierre de la RUE (+1518)

The first two Polyphonic Requiems in history, two masterpieces magnified by the deep and profound voices of the ensemble Diabolus in Musica.

After our CD production I have always been happy to go to France and sing these great works with my friends, Diabolus in music (from one of my favorite cities in the world: Tours!).
These two Requiems develop deep sonorities thanks to an amazing and unprecedented use of low registers, and unusual musical audacities (ambiguities, rhythmic games, striking contrasts, unusual expressions ...). Ockeghem and La Rue show an astonishing mastery and virtuosity, always at the service of emotion.

The ensemble Diabolus in Musica is happy to revive these two iconic and visionary works by two major composers of the autumn of the Middle Ages. The team of 7 singers show all their talents of polyphonists acquired during long years of common practice of these magnificent repertoires.

"The Amulet of the Emporer" - The Music at the court of Maximilian I

Music of the early Renaissance
The program presents the musical taste of the early Renaissance, which accompanied the growing Maximilian I from childhood on. The Burgundian court orchestra of Charles the Bold was considered to be the most famous in Europe and Maximilian should cherish and love her during the happy years of marriage with Mary of Burgundy. The sources for the repertoire Maximilianischer Hofkapelle / n have almost been lost. However, the Liber Selectarum Cantionum, which was printed in Augsburg in 1520 with the help of Ludwig Senfl as editor, offers a good cross section. The manuscripts Mus.ms. 3155 from Munich, Bayerische Staatsbibliothek, and the so-called Codex Pernner from Regensburg also reflect the circulating repertoire of the time in the imperial environment.

PER-SONAT
Sabine Lutzenberger – mezzo-soprano, conductor | Achim Schulz, Richard Resch – tenor | Joel Frederiksen – bass | Baptiste Romain - fidel, renaissance violin | Elizabeth Rumsey - renaissance gamba | Caroline Ritchie - renaissance gamba | Marc Lewon - lute, viola d'arco

Link: https://www.augsburg-tourismus.de/

Thomas Campion—The Second Booke of Ayres

A concert of the complete book. The third installment in our Campion series, “Author of Poetry and Song III”.

Performers: N.N. – tenor | Ryosuke Sakamoto – lute, viola da gamba | Domen Marinčič – viola da gamba | Joel Frederiksen – bass, lute & direction

Light Conceits of Lovers - English Love Songs of the Renaissance
Thomas Campion - The Second Booke of Ayres (1601)

Light Conceits of Lovers - English Love Songs of the Renaissance 
Author of Poetry and Song III: Thomas Campion (1567-1620)

2 pm – Pre-concert lecture with Joel Frederiksen (EPM artistic director)  

This concert is dedicated to the memory of Timothy Leigh Evans (1959-2019), devoted and beloved tenor of Ensemble Phoenix Munich. May his memory live on through the music he shared with so many.

Whether as a poet or a musician, Thomas Campion's reputation is highly respected in both areas. With more than 100 compositions, Campion is one of the most important English composers of lute songs, after John Dowland, who enjoyed their Golden Age under the reign of Queen Elizabeth I. As almost no other composer of his time, the physician, poet and musician Thomas Campion was able to unite music and lyrics into touching compositions, inspiring his listeners with strong metaphors and images. This third concert in their series, Author of Poetry and Song III, is dedicated to Campion’s "The Second Booke of Ayres" (1601), and includes 21 two- and three-voice songs.

Performers: Colin Balzer Tenor | Ryosuke Sakamoto Lute, Gamba | Domen Marinčič Viola da Gamba | Joel Frederiksen Bass, Lute & Direction

Workshop in Early Music Performance Practice

We are extremely proud and excited to be invited by the Goethe Institute in Vietnam to present concerts in Saigon (Ho Chi Minh City) and Hanoi of German and Italian Baroque music. In addition we will give a workshop on the interpretation of early music at the music conservatory of HCMC and meet with the Ensemble Dong Kinh Con Nhac in Hanoi.

Our excellent musicians will perform works of Dietrich Buxtehude, Heinrich Schütz, Biagio Marini and Claudio Monteverdi.

Performers: Julla von Landsberg - soprano | Theona Gubba-Chkheidze - violin | Emily Deans - Violin | Domen Marinčič - Viola da Gamba | Axel Wolf - theorbo | Michael Eberth - Harpsichord | Joel Frederiksen - bass, lute, direction

Fürchtet euch nicht—German and Italian Baroque Masterpieces

We are extremely proud and excited to be invited by the Goethe Institute in Vietnam to present concerts in Saigon (Ho Chi Minh City) and Hanoi of German and Italian Baroque music. In addition we will give a workshop on the interpretation of early music at the music conservatory of HCMC and meet with the Ensemble Dong Kinh Con Nhac in Hanoi.

Our excellent musicians will perform works of Dietrich Buxtehude, Heinrich Schütz, Biagio Marini and Claudio Monteverdi.

Performers: Julla von Landsberg - soprano | Theona Gubba-Chkheidze - violin | Emily Deans - Violin | Domen Marinčič - Viola da Gamba | Axel Wolf - theorbo | Michael Eberth - Harpsichord | Joel Frederiksen - bass, lute, direction

Fürchtet euch nicht—German and Italian Baroque Masterpieces

We are extremely proud and excited to be invited by the Goethe Institute in Vietnam to present concerts in Saigon (Ho Chi Minh City) and Hanoi of German and Italian Baroque music. In addition we will give a workshop on the interpretation of early music at the music conservatory of HCMC and meet with the Ensemble Dong Kinh Con Nhac in Hanoi.

Our excellent musicians will perform works of Dietrich Buxtehude, Heinrich Schütz, Biagio Marini and Claudio Monteverdi.

Performers: Julla von Landsberg - soprano | Theona Gubba-Chkheidze - violin | Emily Deans - Violin | Domen Marinčič - Viola da Gamba | Axel Wolf - theorbo | Michael Eberth - Harpsichord | Joel Frederiksen - bass, lute, direction

Meeting with the Vietnamese Ensemble Dong Kinh Con Nhac!

We are extremely proud and excited to be invited by the Goethe Institute in Vietnam to present concerts in Saigon (Ho Chi Minh City) and Hanoi of German and Italian Baroque music. In addition we will give a workshop on the interpretation of early music at the music conservatory of HCMC and meet with the Ensemble Dong Kinh Con Nhac in Hanoi.

Our excellent musicians will perform works of Dietrich Buxtehude, Heinrich Schütz, Biagio Marini and Claudio Monteverdi.

Performers: Julla von Landsberg - soprano | Theona Gubba-Chkheidze - violin | Emily Deans - Violin | Domen Marinčič - Viola da Gamba | Axel Wolf - theorbo | Michael Eberth - Harpsichord | Joel Frederiksen - bass, lute, direction

Vespers

Monteverdi’s Vespers are testimony to his uniqueness, but could he ever have imagined that his colourful collection would become a modern classic?

“The Vespers are Monteverdi’s eternally valuable calling card.“

Monteverdi had a good life at the scintillating court of Mantua. He played gamba, composed lots of madrigals and wrote opera history. But what if he could exchange the demanding Gonzaga duchy for a pope? As maestro di cappella in Rome he would really be able to make his mark – and without too much trouble from his boss. The Vespers became Monteverdi’s eternally valuable calling card, even if Paul V did reject his advances.

Vespers authority Andrew Parrott sheds light on the colourful mix of old, polyphonic sacred music and emerging Baroque. As a controversial pioneer of historically informed performances, Parrott was already amazing audiences in 1984 with his Taverner Consort. The keywords are transparency, the human dimension and the resounding result of recent research – which is precisely what the Bach Society still stands for in 2019.

Performers:
Netherlands Bach Society
Griet De Geyter – soprano | Isabel Schicketanz – soprano | Victoria Cassano - mezzo-soprano | Rodrigo del Pozo - (high) tenor | Kevin Skelton - (high) tenor | Zachary Wilder – tenor | João Moreira – tenor | Victor Torres – tenor | Joep van Geffen – bass | Joel Frederiksen – bass | Andrew Parrott - conductor

Vespers

Monteverdi’s Vespers are testimony to his uniqueness, but could he ever have imagined that his colourful collection would become a modern classic?

“The Vespers are Monteverdi’s eternally valuable calling card.“

Monteverdi had a good life at the scintillating court of Mantua. He played gamba, composed lots of madrigals and wrote opera history. But what if he could exchange the demanding Gonzaga duchy for a pope? As maestro di cappella in Rome he would really be able to make his mark – and without too much trouble from his boss. The Vespers became Monteverdi’s eternally valuable calling card, even if Paul V did reject his advances.

Vespers authority Andrew Parrott sheds light on the colourful mix of old, polyphonic sacred music and emerging Baroque. As a controversial pioneer of historically informed performances, Parrott was already amazing audiences in 1984 with his Taverner Consort. The keywords are transparency, the human dimension and the resounding result of recent research – which is precisely what the Bach Society still stands for in 2019.

Performers:
Netherlands Bach Society
Griet De Geyter – soprano | Isabel Schicketanz – soprano | Victoria Cassano - mezzo-soprano | Rodrigo del Pozo - (high) tenor | Kevin Skelton - (high) tenor | Zachary Wilder – tenor | João Moreira – tenor | Victor Torres – tenor | Joep van Geffen – bass | Joel Frederiksen – bass | Andrew Parrott - conductor

Vespers

Monteverdi’s Vespers are testimony to his uniqueness, but could he ever have imagined that his colourful collection would become a modern classic?

“The Vespers are Monteverdi’s eternally valuable calling card.“

Monteverdi had a good life at the scintillating court of Mantua. He played gamba, composed lots of madrigals and wrote opera history. But what if he could exchange the demanding Gonzaga duchy for a pope? As maestro di cappella in Rome he would really be able to make his mark – and without too much trouble from his boss. The Vespers became Monteverdi’s eternally valuable calling card, even if Paul V did reject his advances.

Vespers authority Andrew Parrott sheds light on the colourful mix of old, polyphonic sacred music and emerging Baroque. As a controversial pioneer of historically informed performances, Parrott was already amazing audiences in 1984 with his Taverner Consort. The keywords are transparency, the human dimension and the resounding result of recent research – which is precisely what the Bach Society still stands for in 2019.

Performers:
Netherlands Bach Society
Griet De Geyter – soprano | Isabel Schicketanz – soprano | Victoria Cassano - mezzo-soprano | Rodrigo del Pozo - (high) tenor | Kevin Skelton - (high) tenor | Zachary Wilder – tenor | João Moreira – tenor | Victor Torres – tenor | Joep van Geffen – bass | Joel Frederiksen – bass | Andrew Parrott - conductor

Vespers

Monteverdi’s Vespers are testimony to his uniqueness, but could he ever have imagined that his colourful collection would become a modern classic?

“The Vespers are Monteverdi’s eternally valuable calling card.“

Monteverdi had a good life at the scintillating court of Mantua. He played gamba, composed lots of madrigals and wrote opera history. But what if he could exchange the demanding Gonzaga duchy for a pope? As maestro di cappella in Rome he would really be able to make his mark – and without too much trouble from his boss. The Vespers became Monteverdi’s eternally valuable calling card, even if Paul V did reject his advances.

Vespers authority Andrew Parrott sheds light on the colourful mix of old, polyphonic sacred music and emerging Baroque. As a controversial pioneer of historically informed performances, Parrott was already amazing audiences in 1984 with his Taverner Consort. The keywords are transparency, the human dimension and the resounding result of recent research – which is precisely what the Bach Society still stands for in 2019.

Performers:
Netherlands Bach Society
Griet De Geyter – soprano | Isabel Schicketanz – soprano | Victoria Cassano - mezzo-soprano | Rodrigo del Pozo - (high) tenor | Kevin Skelton - (high) tenor | Zachary Wilder – tenor | João Moreira – tenor | Victor Torres – tenor | Joep van Geffen – bass | Joel Frederiksen – bass | Andrew Parrott - conductor

Vespers

Monteverdi’s Vespers are testimony to his uniqueness, but could he ever have imagined that his colourful collection would become a modern classic?

“The Vespers are Monteverdi’s eternally valuable calling card.“

Monteverdi had a good life at the scintillating court of Mantua. He played gamba, composed lots of madrigals and wrote opera history. But what if he could exchange the demanding Gonzaga duchy for a pope? As maestro di cappella in Rome he would really be able to make his mark – and without too much trouble from his boss. The Vespers became Monteverdi’s eternally valuable calling card, even if Paul V did reject his advances.

Vespers authority Andrew Parrott sheds light on the colourful mix of old, polyphonic sacred music and emerging Baroque. As a controversial pioneer of historically informed performances, Parrott was already amazing audiences in 1984 with his Taverner Consort. The keywords are transparency, the human dimension and the resounding result of recent research – which is precisely what the Bach Society still stands for in 2019.

Performers:
Netherlands Bach Society
Griet De Geyter – soprano | Isabel Schicketanz – soprano | Victoria Cassano - mezzo-soprano | Rodrigo del Pozo - (high) tenor | Kevin Skelton - (high) tenor | Zachary Wilder – tenor | João Moreira – tenor | Victor Torres – tenor | Joep van Geffen – bass | Joel Frederiksen – bass | Andrew Parrott - conductor

Vespers

Monteverdi’s Vespers are testimony to his uniqueness, but could he ever have imagined that his colourful collection would become a modern classic?

“The Vespers are Monteverdi’s eternally valuable calling card.“

Monteverdi had a good life at the scintillating court of Mantua. He played gamba, composed lots of madrigals and wrote opera history. But what if he could exchange the demanding Gonzaga duchy for a pope? As maestro di cappella in Rome he would really be able to make his mark – and without too much trouble from his boss. The Vespers became Monteverdi’s eternally valuable calling card, even if Paul V did reject his advances.

Vespers authority Andrew Parrott sheds light on the colourful mix of old, polyphonic sacred music and emerging Baroque. As a controversial pioneer of historically informed performances, Parrott was already amazing audiences in 1984 with his Taverner Consort. The keywords are transparency, the human dimension and the resounding result of recent research – which is precisely what the Bach Society still stands for in 2019.

Performers:
Netherlands Bach Society
Griet De Geyter – soprano | Isabel Schicketanz – soprano | Victoria Cassano - mezzo-soprano | Rodrigo del Pozo - (high) tenor | Kevin Skelton - (high) tenor | Zachary Wilder – tenor | João Moreira – tenor | Victor Torres – tenor | Joep van Geffen – bass | Joel Frederiksen – bass | Andrew Parrott - conductor

Vespers

Monteverdi’s Vespers are testimony to his uniqueness, but could he ever have imagined that his colourful collection would become a modern classic?

“The Vespers are Monteverdi’s eternally valuable calling card.“

Monteverdi had a good life at the scintillating court of Mantua. He played gamba, composed lots of madrigals and wrote opera history. But what if he could exchange the demanding Gonzaga duchy for a pope? As maestro di cappella in Rome he would really be able to make his mark – and without too much trouble from his boss. The Vespers became Monteverdi’s eternally valuable calling card, even if Paul V did reject his advances.

Vespers authority Andrew Parrott sheds light on the colourful mix of old, polyphonic sacred music and emerging Baroque. As a controversial pioneer of historically informed performances, Parrott was already amazing audiences in 1984 with his Taverner Consort. The keywords are transparency, the human dimension and the resounding result of recent research – which is precisely what the Bach Society still stands for in 2019.

Performers:
Netherlands Bach Society
Griet De Geyter – soprano | Isabel Schicketanz – soprano | Victoria Cassano - mezzo-soprano | Rodrigo del Pozo - (high) tenor | Kevin Skelton - (high) tenor | Zachary Wilder – tenor | João Moreira – tenor | Victor Torres – tenor | Joep van Geffen – bass | Joel Frederiksen – bass | Andrew Parrott - conductor

Vespers

Monteverdi’s Vespers are testimony to his uniqueness, but could he ever have imagined that his colourful collection would become a modern classic?

“The Vespers are Monteverdi’s eternally valuable calling card.“

Monteverdi had a good life at the scintillating court of Mantua. He played gamba, composed lots of madrigals and wrote opera history. But what if he could exchange the demanding Gonzaga duchy for a pope? As maestro di cappella in Rome he would really be able to make his mark – and without too much trouble from his boss. The Vespers became Monteverdi’s eternally valuable calling card, even if Paul V did reject his advances.

Vespers authority Andrew Parrott sheds light on the colourful mix of old, polyphonic sacred music and emerging Baroque. As a controversial pioneer of historically informed performances, Parrott was already amazing audiences in 1984 with his Taverner Consort. The keywords are transparency, the human dimension and the resounding result of recent research – which is precisely what the Bach Society still stands for in 2019.

Performers:
Netherlands Bach Society
Griet De Geyter – soprano | Isabel Schicketanz – soprano | Victoria Cassano - mezzo-soprano | Rodrigo del Pozo - (high) tenor | Kevin Skelton - (high) tenor | Zachary Wilder – tenor | João Moreira – tenor | Victor Torres – tenor | Joep van Geffen – bass | Joel Frederiksen – bass | Andrew Parrott - conductor

Vespers

Monteverdi’s Vespers are testimony to his uniqueness, but could he ever have imagined that his colourful collection would become a modern classic?

“The Vespers are Monteverdi’s eternally valuable calling card.“

Monteverdi had a good life at the scintillating court of Mantua. He played gamba, composed lots of madrigals and wrote opera history. But what if he could exchange the demanding Gonzaga duchy for a pope? As maestro di cappella in Rome he would really be able to make his mark – and without too much trouble from his boss. The Vespers became Monteverdi’s eternally valuable calling card, even if Paul V did reject his advances.

Vespers authority Andrew Parrott sheds light on the colourful mix of old, polyphonic sacred music and emerging Baroque. As a controversial pioneer of historically informed performances, Parrott was already amazing audiences in 1984 with his Taverner Consort. The keywords are transparency, the human dimension and the resounding result of recent research – which is precisely what the Bach Society still stands for in 2019.

Performers:
Netherlands Bach Society
Griet De Geyter – soprano | Isabel Schicketanz – soprano | Victoria Cassano - mezzo-soprano | Rodrigo del Pozo - (high) tenor | Kevin Skelton - (high) tenor | Zachary Wilder – tenor | João Moreira – tenor | Victor Torres – tenor | Joep van Geffen – bass | Joel Frederiksen – bass | Andrew Parrott - conductor

Vespers

Monteverdi’s Vespers are testimony to his uniqueness, but could he ever have imagined that his colourful collection would become a modern classic?

“The Vespers are Monteverdi’s eternally valuable calling card.“

Monteverdi had a good life at the scintillating court of Mantua. He played gamba, composed lots of madrigals and wrote opera history. But what if he could exchange the demanding Gonzaga duchy for a pope? As maestro di cappella in Rome he would really be able to make his mark – and without too much trouble from his boss. The Vespers became Monteverdi’s eternally valuable calling card, even if Paul V did reject his advances.

Vespers authority Andrew Parrott sheds light on the colourful mix of old, polyphonic sacred music and emerging Baroque. As a controversial pioneer of historically informed performances, Parrott was already amazing audiences in 1984 with his Taverner Consort. The keywords are transparency, the human dimension and the resounding result of recent research – which is precisely what the Bach Society still stands for in 2019.

Performers:
Netherlands Bach Society
Griet De Geyter – soprano | Isabel Schicketanz – soprano | Victoria Cassano - mezzo-soprano | Rodrigo del Pozo - (high) tenor | Kevin Skelton - (high) tenor | Zachary Wilder – tenor | João Moreira – tenor | Victor Torres – tenor | Joep van Geffen – bass | Joel Frederiksen – bass | Andrew Parrott - conductor

Vespers

Monteverdi’s Vespers are testimony to his uniqueness, but could he ever have imagined that his colourful collection would become a modern classic?

“The Vespers are Monteverdi’s eternally valuable calling card.“

Monteverdi had a good life at the scintillating court of Mantua. He played gamba, composed lots of madrigals and wrote opera history. But what if he could exchange the demanding Gonzaga duchy for a pope? As maestro di cappella in Rome he would really be able to make his mark – and without too much trouble from his boss. The Vespers became Monteverdi’s eternally valuable calling card, even if Paul V did reject his advances.

Vespers authority Andrew Parrott sheds light on the colourful mix of old, polyphonic sacred music and emerging Baroque. As a controversial pioneer of historically informed performances, Parrott was already amazing audiences in 1984 with his Taverner Consort. The keywords are transparency, the human dimension and the resounding result of recent research – which is precisely what the Bach Society still stands for in 2019.

Performers:
Netherlands Bach Society
Griet De Geyter – soprano | Isabel Schicketanz – soprano | Victoria Cassano - mezzo-soprano | Rodrigo del Pozo - (high) tenor | Kevin Skelton - (high) tenor | Zachary Wilder – tenor | João Moreira – tenor | Victor Torres – tenor | Joep van Geffen – bass | Joel Frederiksen – bass | Andrew Parrott - conductor

Vespers

Monteverdi’s Vespers are testimony to his uniqueness, but could he ever have imagined that his colourful collection would become a modern classic?

“The Vespers are Monteverdi’s eternally valuable calling card.“

Monteverdi had a good life at the scintillating court of Mantua. He played gamba, composed lots of madrigals and wrote opera history. But what if he could exchange the demanding Gonzaga duchy for a pope? As maestro di cappella in Rome he would really be able to make his mark – and without too much trouble from his boss. The Vespers became Monteverdi’s eternally valuable calling card, even if Paul V did reject his advances.

Vespers authority Andrew Parrott sheds light on the colourful mix of old, polyphonic sacred music and emerging Baroque. As a controversial pioneer of historically informed performances, Parrott was already amazing audiences in 1984 with his Taverner Consort. The keywords are transparency, the human dimension and the resounding result of recent research – which is precisely what the Bach Society still stands for in 2019.

Performers:
Netherlands Bach Society
Griet De Geyter – soprano | Isabel Schicketanz – soprano | Victoria Cassano - mezzo-soprano | Rodrigo del Pozo - (high) tenor | Kevin Skelton - (high) tenor | Zachary Wilder – tenor | João Moreira – tenor | Victor Torres – tenor | Joep van Geffen – bass | Joel Frederiksen – bass | Andrew Parrott - conductor

Cancionero de la Sablonara - Spanish court music of the 17th century

A manuscript believed to be lost as a unique specimen in the possession of the Bayerische Staatsbibliothek

2 pm – Pre-concert lecture

It was thanks to a trip to Spain by Wolfgang Wilhelms, Count Palatine and Duke of Neuburg and Jülich-Berg in 1724 that one of the most important collections of Spanish court music of the early 17th century was preserved and is now owned by the Bavarian State Library.  Because of a fire in the Alcázar of Madrid in 1734 many sources of music were destroyed at the Spanish court. Named after its scribe Claudio de la Sablonara, the collection contains 75 polyphonic songs written by famous Spanish court musicians. The Codex gives fascinating insights into an independent musical tradition, relatively untouched by foreign influences, that feeds primarily on its own roots and native music traditions.

Performers: Maria Andrea Parias soprano| Petra Noskaiová mezzosoprano | Andrés Silva tenor | Christoph Eglhuber baroque guitar, theorbo, percussion | Ryosuke Sakamoto viola da gamba, lute | Joel Frederiksen bass, vihuela, lute & direction

Traveling Musicians - On the Road between Prague and Vienna
Internationality at the Habsburg Courts

2 pm – Museum tour with Dr. Sybe Wartena: Music Instrument Construction and Migration

Mobility has always been part of a musician’s profession. EPM takes a look at the impact of Baroque composers who chose to work at the Habsburg courts. Included are virtuoso solo motets by Giovanni Felice Sances, a native of Rome, singer at the Viennese court and an extremely important baroque composer, as well as a Salve Regina by composer Heinrich Ignaz Franz Biber of Bohemia who was active in Kroměříž, Czech Republic. Sacred works of Pavel Josef Vejvanovský, newly transcribed for this concert, clearly show the influence of his predecessor in Kroměříž, Heinrich Biber. The musical journey is enriched by solo works for viola da gamba and lute by Gottfried Finger from Olomouc. His professional career took him to London and all over Germany: The musician's life is a traveling life!

Performers: Alena Hellerová soprano | Jan Čižmář theorbo, lute | Michael Eberth organ | Theona Gubba-Chkheidze and Emily Deans violins | Domen Marinčič viola da gamba | Joel Frederiksen bass, archlute & direction