The Queen's Consort
English Consort Music from the Renaissance and Early Baroque
SO 8. Sep. 2024 | 11:30-12:30
Inner Courtyard of the Servite Church (in case of rain at Sommerchor)
Following in the footsteps of three queens - Queen Anne of Great Britain (1665 - 1714), Queen Elizabeth I (1533 - 1603) and Queen Mary II (1662 - 1694) - whose patronage played a key role in shaping the music scene of the Renaissance and early Baroque, the Sunday matinée The Queen's Consort explores English consort music. The word 'consort' comes from the English verb 'to consort', which means 'to accompany' or 'to come together', and has its roots in the Latin 'consors', which means 'sharer' or 'partner'. Instrumental consorts enjoyed great popularity in the Renaissance. The combination of instruments of different registers and sizes (soprano, alto, tenor and bass instruments) - such as viols, recorders or later oboes - creates a dense network of sound that captivates with its unique clarity and color. Two very different consorts meet at the matinée: the viol consort with pavans, fantasias and galliards by William Byrd and Thomas Tomkins and the oboe band with dances from a manuscript by Queen Anne and historical arrangements for oboe band from Henry Purcell's "The Fairy Queen".
GOURMET TIP
Joseph Brot awaits you at the festival stand before and after the concert with a selection of fresh delicacies! Taste your way through the organic range and try the unique sourdough breads and fine organic patisserie. There will also be a delicious variety of refreshments!
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© Helene Kallenbach
A Chest of Viols, viol consort
In 17th century England, A CHEST OF VIOLS referred to a set of violas (2 treble, 2 alto and 2 bass viole da gamba), which were often kept in a box and which no self-respecting household could do without. English music from the Elizabethan and Jacobean periods occupies a central place in the repertoire of the ensemble, which was founded in 2022. Nowhere else was so much wonderful music composed for viol consort as in England. The famous musicologist Max Grün von Veltlin accurately describes the viola da gamba consort as an "exotic, paradisiacal island in the history of European art music". De facto - a life's work to which the viola da gamba consort A CHEST OF VIOL, under the direction of Pierre Pitzl, dedicates itself with passion and lifeblood.
„Feldmusik“ – historical wind ensemble of MUK
Direction: Andreas Helm
Chamber music for wind instruments plays only a minor role in today's concert programs worldwide. It is therefore all the more astonishing that wind ensembles played a leading role in musical life from the end of the 17th century and throughout the 18th century. Without keyboard instruments, wind ensembles were a flexible instrumentation that could entertain outdoors as well as indoors or frame ceremonies. While from around 1670 - the oboe and bassoon had just emerged - it was mainly oboe bands and hautboists with a pure double-reed instrumentation that were active at courts and in cities, in the second half of the 18th century an instrumentation with wind instruments arranged in pairs (two oboes, two horns, one or two bassoons) was formed, the so-called harmony music, for which composers such as Mozart and Haydn also composed numerous works.
© Kulturverein Constellations
Ensemble Affinità
Direction: Elisabeth Baumer
In 2012, oboist Elisabeth Baumer founded the Austrian-Italian ensemble Affinità out of a desire to create a special platform for chamber music together with close musician friends. The name "Affinità" was inspired by the subtle sentiments of Goethe's novel "Elective Affinities", in the Italian translation "Le affinità elettive". But it also alludes to the Italophile Habsburg emperors of the 17th and 18th centuries and the close relationships between the Vienna Court Orchestra and several Italian musical personalities. The members of Affinità have all specialized in early music at the leading music academies in Europe, play on historical instruments or copies, and are represented in numerous prominent baroque orchestras and ensembles on the international original sound scene. The program focuses on high baroque woodwind chamber music, with interesting rediscoveries also playing an important role. The ensemble is particularly keen to develop the expressive power of this repertoire using all the means of baroque sound. The size of the ensemble and the instrumental composition vary depending on the program.
© Amarillo Ramalho
Musicians​
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A Chest of Viols | viol consort
Pierre Pitzl, Treble Viol
Maria Danneberg, Tenor Viol
Desirée Wöhrer, Bass Viol
Antonia Kallenbach, Bass Viol
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Feldmusik | Historical Wind Ensemble of MUK
Andreas Helm, Phyllis Breit, Verena Grundner, Patricia Nägele,
Yeonshin Park, Lotti Szaly
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Baroque Oboe
Petra Szovak, Bassoon
Ensemble Affinità
Elisabeth Baumer, Baroque Oboe
Ulli Nagy, Moderation
