Des Knaben Wunderhorn
What devilment is in them, bound up with the deepest mysticism! Everything is turned on its head, causality has completely ceased to apply !
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Das Schloss Dürande
This reworking of Das Schloss Dürande aims to restore to the international operatic stage a significant opera of late-tonal Modernism that in the long term will have to find its own way into the repertoire alongside the works of..
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Mozart und seine Zeitgenossen
Das späte 18. Jahrhundert hatte einen nahezu unstillbaren Bedarf an Kammermusik. Bedingt durch die sozialen Umwälzungen dieses Zeitalters, die den Übergang von der feudalistischen zur..
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OTHMAR SCHOECK
When Othmar Schoeck began writing Vom Fischer un syner Fru (The Fisherman and his Wife) in the summer of 1928, he happened to be on an extended stay at Werner Reinhart's holiday house on the "Fluh" in Maur on the Greifensee lake. The..
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COSSONI & CAZZATI
The programme offers a fascinating journey through the sacred and the secular, delving into the lives of two major figures of the musical milieu in Bologna in the mid-17th century: Maurizio Cazzati (1616- 1678) and Carlo Donato Cossoni..
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PIERRE WISSMER
During the first half of the twentieth century, many Swiss Romandy composers received parallel training in Germany and then in Paris, maintaining often afterwards, respective ties with both the Latin and German poles of their homeland.
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Out
Out
The most well-known venues have already hosted the young musician: Paris Philharmonic, Musikverein in Vienna, KKL Luzern, Basel Casino, Dijon Opera, Flagey in Brussels, Teatro Colon Buenos Aires, Kennedy Center Washington....
The recording made in 2016 by the Claves Records label and dedicated to Gabriel Fauré, Francis Poulenc and Komitas was greatly acclaimed by critics, including the Musica Prize. She obtained a “coup de coeur” by the French-speaking Belgian Radio-Television during the 2017 Queen Elisabeth competition.
Since making the decision to establish his own trio with bassist Werner Spies and drummer Hugo Radyn in 2006, Charl du Plessis has alerted audiences to the complexities and capabilities of combining jazz and classic music. The creative possibilities of this musical unit have offered him the means to produce a wide range of music not confined by any style or genre.
One of Ireland's most successful musicians, Dubliner Finghin Collins was born in 1977 and studied piano at the Royal Irish Academy of Music with John O'Conor and at the Geneva Conservatoire with Dominique Merlet. Winner of the RTÉ Musician of the Future Competition in 1994 and the Classical Category at the National Entertainment Awards in Ireland in1998, he went on to achieve major international success by taking first prize at the Clara Haskil International Piano Competition in Switzerland in 1999. Since then he has developed a flourishing international career that takes him all over Europe, the United States and the Far East.
The multi-talented musician was appointed the youngest principal flutist at the Winterthur Symphony Orchestra and at the Lucerne Festival Orchestra with additional conducting responsibilities. It followed a period of full time opera and symphonic conducting.
ICMA AWARD 2019
Seventeenth-century Wrocław (then Breslau) was one of Europe’s important musical centres. Its three main Protestant churches – St. Elisabeth, St. Mary Magdalene and St. Bernardine – collected extensive music libraries.
Their repertoire was shaped both by prints imported from Italy and Germany, and by works composed by local cantors and organists employed in church ensembles.
A separate collection of nearly 400 prints from 1610–55 reposed in private hands for most of the century.
It had probably been initiated by Ambrosius Profe, the organist of the Church of St. Elizabeth in 1633–49, and later owned by Daniel Sartorius, a teacher in the church gymnasium.
After the latter’s death the music prints were incorporated into the Biblioteca Rhedigeriana, a collection of rare manuscripts, prints, paintings, sculptures, coins and minerals assembled by a Breslau patrician Thoms Rhediger (1540–76).
PERFORMERS
Stephan MacLeod – Conductor
GLI ANGELI GENÈVE
Aleksandra Lewandowska, Grace Davidson – Sopranos
Alex Potter – Alto
Jan Kobow, Stephan Gähler – Tenors
Stephan MacLeod – Bass
Marzena Michałowska, Aleksandra Turalska – Sopranos
Piotr Olech – Alto
Maciej Gocman, Václav Čížek – Tenors
Jaromír Nosek – Bass
CONCERTO PALATINO
Bruce Dickey, Gawain Glenton – Cornets
Simen Van Mechelen, Claire MacIntyre, Charles Toet, Joost Swinkels – Trombones
WROCŁAW BAROQUE ORCHESTRA
Zbigniew Pilch (Leader), Adam Pastuszka – Violins
Dominika Małecka – Viola
Jarosław Thiel (Artistic Director) – Cello
Ondřej Štajnochr – Violone
Adrian Rovatkay – Dulcian
Marcin Szelest (Musicologist, Artistic Consultant) – Organ
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What devilment is in them, bound up with the deepest mysticism! Everything is turned on its head, causality has completely ceased to apply !
(Gustav Mahler in a letter to Ludwig Karpath in 1905, writing about the Wunderhorn poems)
Fish that speak and donkeys as judges; deserters, phantom drummers, cheeky angels – but also wild, flirty coun...
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