BAROQUE FESTIVAL ORHESTRA and BAROQUE FESTIVAL CHOIR
The Baroque Festival Orchestra consists of musicians from Romania playing Baroque instruments and acclaimed in professional circles, some of whom are performing abroad. Formed specifically for the Early Music Festival Miercurea-Ciuc, following the initiative of artistic director Ignác Csaba Filip, the orchestra performed for the first time in 2010; that event being preceded by the earlier collaboration between the violinist Ulrike Titze and the Miercurea-Ciuc Chamber Orchestra. The initiative, which comes as a novelty at local level, seeks to integrate instrumentalists from various smaller chamber orchestras for a high quality concert. The musicians involved, as well as concertmaster Ulrike Titze, conductor Steffen Schlandt and choir director András Ványolós are a guarantee of a high quality musical event.
Ulrike Titze studied the violin in her hometown at the Dresden Music Institute. This was followed by four years of collaboration with the Staatskapelle in Weimar. Since 1986, she has been playing exclusively the Baroque violin. She is a founder member and concertmaster of the Dresdner Barockorchester. She has taught Baroque violin for several years at the Dresden Music Academy. Within the framework of the International Bach Academy, she has worked with music academy students from Romania and Ukraine on several occasions. She is devoted to chamber music, above all with the Grundmann-Quartett, and collaborates with various orchestras like the Akademie für Alte Musik Berlin and Stuttgarter Barockorchester.
Conductor Steffen Schlandt is presented among the lecturers of the Early Music Summer School.
The Baroque Festival Choir, similarly to the Baroque Festival Orchestra, is not a permanent formation. On the occasion of the present edition of the Festival, singers from Miercurea-Ciuc and members of the Bach Choir from Brașov, directed by Steffen Schlandt, have joined under the direction of András Ványolós.
András Ványolós was born in 1978 in Gheorgheni, Romania. He graduated in music pedagogy at the Gheorghe Dima Music Academy in Cluj-Napoca. His main interest is sacred music. He has attended several masterclasses across Europe, was member of Schola Gregoriana Monostorinensis and the choir of the Hungarian Opera in Cluj-Napoca, where he was also the leader of the Kálvin Schola. Currently he is a music teacher and director of the Lux Aurumque chamber choir. In 2013, he was awarded the János Jagamas choir director award by the Union of Hungarian Musical Ensembles from Romania. In recent years, he has performed as a singer with the Baroque Festival Orchestra and Canticum Novum (Hungary).
Baroque Festival Orchestra
Concertmaster: Ulrike Titze – Baroque violin (Dresden)
Conductor: Steffen Schlandt (Brașov)
Melinda Sámson – soprano (Sibiu)
Árpád Sándor – bariton (Cluj-Napoca)
Violin I (Baroque instruments): Ernő Péter (Miercurea-Ciuc), Mia Sfura (Cluj-Napoca), Koppány Hunyadi (Miercurea-Ciuc), Renáta Dimén (Cluj-Napoca)
Violin II (Baroque instruments): László Kovács (Miercurea-Ciuc), Éva Kovács (Miercurea-Ciuc), Renáta Gebe Fügi (Cluj-Napoca), Zsófia Kálai (Cluj-Napoca)
Baroque viola: Csaba Adorján (Miercurea-Ciuc), Gabriella Tankó (Brașov), Attila Suciu (Oradea)
Baroque cello: Zsombor Lázár (Miercurea-Ciuc), Mátyás Oláh (Miercurea-Ciuc)
Baroque double bass: Árpád Szőgyör (Miercurea-Ciuc)
Baroque flute: Jean-Christophe Frisch (Paris), Éva Szabó (Miercurea-Ciuc)
Baroque oboe: Sándor Gáti (Oradea), Emőke Fancsali (Odorheiu-Secuiesc), Guido Titze (Dresden)
Baroque bassoon: Dóra Király (Budapest)
Flügelhorn: Gábor Hegyi (Köln)
Baroque horn: Szilárd Kelemen (Târgu-Mureș)
Harpsichord, organ: Paul Cristian (Brașov)
Percussion: Roland Kasza (Budapest), Júlia Ádám (Miercurea-Ciuc), Ákos Sudár (Budapest), Ádám Tekula (Budapest)
BAROQUE FESTIVAL ORHESTRA and BAROQUE FESTIVAL CHOIR
Aus der Kirche in die Welt
German Music from Different Regions
Friday, 15 July, St. Augustine Church, 18.00
The basic idea of the programme is to take sacred music, including instrumental church music, out of the liturgical framework for which it was written. Besides the church compositions of J. S. Bach, one of the most important German Baroque composers, and those of J. Knall and Ph. Caudella, prominent figures of the German culture in Transylvania of the same period, the programme also includes the Water Music suite by de G. Ph. Telemann, another renown master of the German Baroque.
The church cantata “Geist und Seele wird verwirret” (Spirit and soul become confused) BWV 35 was composed by J. S. Bach for the twelfth Sunday after Trinity. The text is based on the day’s prescribed reading from the Gospel of Mark (7:31–37), the healing of a deaf mute man.
Johann Knall was the cantor of the Lutheran church in Sibiu. He is one of the representatives of the Transylvanian gallant style. He composed several cantatas for the Sunday celebrations of the liturgical year, called “dictum”, a local specificity strongly binding music to liturgy. The dictums were interpreted by soloists, orchestra, choir, with the participation of the local community. The programme includes the dictum for Pentecost Sunday.
Philipp Caudella worked in Sibiu, where he activated as a pianist, organist, teacher and composer. He published the first piano method book in Transylvania and edited a collection of choral works. He is considered as one of the best musicians of the Roman Catholic Church from Sibiu. His compositions include piano variations, motets and cantatas, some written for more uncommon settings, such as choir, orchestra and obbligato organ.
Telemann composed the suite in ten movements for the centennial anniversary of the Hamburg Admiralty. In his work, he illustrates the character of the sea with mythological water deities and tone painting. The ouverture evokes the movement of the sea, followed by several dance movements: the sleeping sea goddess Thetis, who then awakes; the sea god Neptune in love; playful water nymphs known as Naiads; Neptune’s son and sea messenger Triton joking; Aeolus, ruler of the winds; and Zephyr, god of the west wind. Two final pieces follow, one depicting the tides of Hamburg and finally, its happy sailors.
Johann Sebastian Bach (1685–1750): Sinfonia from cantata “Geist und Seele wird verwirret”, BWV 35
Johann Knall (1734–1794): Dictum auf das erste Pfingstfest
Sinfonia – Recitativo – Choral – Aria – Recitativo – Chorus – Aria – Recitativo – Chorus – Recitativo – Choral
Philipp Caudella (1771–1826): Vias tuas, Domine, demonstra mihi, motet
Georg Philipp Telemann (1681–1767): Overture C major Wassermusik “Hamburger Ebb’ und Fluth” (Water Music, “Hamburg ebb and flow”), TWV 55:C3
Sarabande: Die schlafende Thetis (The Sleeping Thetis)
Bourrée: Die erwachende Thetis (Thetis Awakening)
Loure: Der verliebte Neptun (Neptune in Love)
Gavotte: Spielende Najaden (Playing Naiads)
Harlequinade: Der Schertzende Tritonus (The Joking Triton)
Der stürmende Aeolus (The Stormy Aeolus)
Menuett: Der angenehme Zephir (The Pleasant Zephyr)
Gigue: Ebbe und Fluth (Ebb and Flow)
Canarie: Die lustigen Boots Leute (The Merry Boat People)