Edition 2024

Early Music Day takes place every year on 21 March, at the initiative of REMA. This celebration of more than a thousand years of music, through concerts and events taking place simultaneously around the world, is an opportunity for Europeans to (re)discover our musical heritage!

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Action! Brain Battle & Early Music in the corridors of LMTA

21/03/2024 12:30 EET (21/03/2024 11:30 CET) action for teenagers\n <\/h3>\n\n \n Gli Incogniti & Amandine Beyer\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n

\n
Transmission of early music is an important value for Amandine Beyer and Gli Incogniti! This year we will share the EMD with the teenagers of a middle school in Bordeaux: presentation of the group, baroque instruments & repertoire, work with a dancer to create a modern choreography on baroque music...<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Amandine Beyer (artistic director and violinist) & Thomas Queyrens (dancer)<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Medieval$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 25/03/2024 14:00 CET\n <\/small>\n <\/p>\n\n
\n Medieval Karaoke\n <\/h3>\n\n \n La Camera delle Lacrime & Clermont Auvergne Opéra\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
Students from the Clermont-Ferrand area join our professional musicians on stage or in the audience to sing medieval songs.<\/div>\n <\/div>\n\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Medieval$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 18:15 CET\n <\/small>\n <\/p>\n\n
\n Medieval chant ensemble reading, class of Katarina Livljanić\n <\/h3>\n\n \n Schola Cantorum Basiliensis\n <\/span>\n\n \n Switzerland<\/strong>\n <\/span>\n\n \n
This concert features students of the Schola Cantorum Basiliensis performing vocal music of the High Middle Ages. In focus is music of the Notre Dame School.<\/div>\n <\/div>\n\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\""Viel$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 20/03/2024 19:00 CET\n <\/small>\n <\/p>\n\n
\n "Viel Fantasie"\n <\/h3>\n\n \n Hamburger Ratsmusik\n <\/span>\n\n \n Germany<\/strong>\n <\/span>\n\n \n
The richness of Telemann\'s compositional ideas is inexhaustible. Unlike all his colleagues of his time, he never repeats himself, but constantly reinvents himself. In the fantasies and sonatas of this concert evening, the transverse flute, viola da gamba, lute and harpsichord compete with each other! The Ratsmusiker have invited the American flautist, musicologist, Telemann prizewinner and expert Steven Zohn. So Telemann\'s music is sure to become a transatlantic adventure. <\/div>
Johann Sebastian Bach\'s birthday on 21 March marks the beginning of spring, as it does every year. Exactly one week earlier, on 14 March, is the 343rd anniversary of Telemann\'s birthday. What better way to celebrate this coincidence than with a concert by these two titans in dialogue? <\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Steven Zohn, Traversflöte & Hamburger Ratsmusik <\/div>
Simone Eckert, Viola da gamba, Anke Dennert, Cembalo, Ulrich Wedemeier, Laute <\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Auferstehung-Resurrection$ \n <\/div>\n <\/div>\n\n
\n \n Online\n <\/span>\n\n
\n \n 21/03/2024 22:00 CET (21/03/2024 22:00 CET)\n <\/small>\n <\/p>\n\n
\n Auferstehung-Resurrection - A Film Tale about Love, Faith and the Incomprehensible with Music by Heinrich Schütz\n <\/h3>\n\n \n Ensemble Polyharmonique\n <\/span>\n\n \n Germany<\/strong>\n <\/span>\n\n \n
Easter 1623 saw the Auferstehungshistorie, or History of the Resurrection, by Heinrich Schütz (1585–1672) first performed in Dresden. The court conductor in Dresden and first German composer of world renown, Schütz created this musical masterwork at the age of only 38. The Ensemble Polyharmonique, Giulia Russo, Christian Zacharas (Robozee) and CentreFilms now retell the RESURRECTION, with uniquely beautiful singing, expressive dance and technical refinement. They give space to the incredible, the search for truth and certainty, and the touching biblical love story of Jesus and Mary Magdalen, developing current images from this 400-year-old music that are overwhelming and moving. Baroque music interpreted from our contemporary gaze, Early Music combined with an urban dance scene – sound, text and image and the combination of two cultures merge in one highly expressive music film which is quite unlike any that has come before.

Welcome to the 21st century, dear Heinrich Schütz!
And welcome to a new, magical experience of music, dear viewers!

<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Ensemble Polyharmonique, direction Alexander Schneider - music
Gulia Ross Christian Zacharas (Robozee) - dance
Center Films - filmproduction <\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"SEI$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 19:30 CET\n <\/small>\n <\/p>\n\n
\n SEI SOLO\n <\/h3>\n\n \n N&B MARETERRA FESTIVAL\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
H.I.F. von BIBER
Passacaglia in sol minore

J.S. BACH
Sonata n. 1 in sol minore (BWV 1001)
Partita n. 2 in re minore (BWV 1004)

<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
BORIS BEGELMAN (solo violin)<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"AFTER$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 24/03/2024 19:45 GMT (24/03/2024 20:45 CET)\n <\/small>\n <\/p>\n\n
\n AFTER BACH. Organ recital by Andrew Benson-WIlson\n <\/h3>\n\n \n Christ's Chapel, Dulwich\n <\/span>\n\n \n United Kingdom<\/strong>\n <\/span>\n\n \n
Andrew Benson-Wilson’s annual Early Music Day concerts usually include music by JS Bach, reflecting the fact that Early Music Day is on 21 March, the date of Bach’s birth under the current calendar. On this occasion, reflecting the rather unusual concert time of 7:45 and the 1750 George England organ, this recital will focus on music from England, Germany and France composed around Bach’s death in 1750.

AFTER BACH, and After Dark!

<\/div>
The 1750 George England organ was restored in 2009 by William Drake. Organ details can be found here<\/strong><\/a>.

The Chapel of Christ and Alleyn’s College of God’s Gift adjoin the Dulwich Art Gallery. Free street parking.
Admission free – retiring collection.

<\/div>\n <\/div>\n\n \n Musicians<\/span>\n
Andrew Benson-Wilson, organ<\/div>\n <\/div>\n\n
\n\n
Organist<\/a><\/li>\n\n
Church<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Versailles$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 15/03/2024 20:00 CET\n <\/small>\n <\/p>\n\n
\n Versailles Grand Bach Weekend - opening concert #1\n <\/h3>\n\n \n CRR de Versailles Grand Parc\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
From Friday 15 to Sunday 17 March, the various departments of the Conservatoire de Versailles will be celebrating Bach\'s genius with a series of seven concerts featuring a variety of programmes.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Ensemble baroque de Buc
Guitar
Vocal duets
Jazz workshop<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Baroque$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 23/03/2024 18:30 CET\n <\/small>\n <\/p>\n\n
\n Baroque Concertos\n <\/h3>\n\n \n LES PASSIONS - Orchestre Baroque de Montauban\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n
\n
Vivaldi, Telemann, Bach and Boismortier, some of the most popular composers of the Baroque era, exploit with extraordinary imagination all the combinations offered by the ensemble on offer: violin, recorder, oboe, bassoon, cello and harpsichord.
Virtuosity, the expression of charming melodies, humour too, are evident throughout this festive and varied programme, performed by soloists from Les Passions.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
LES<\/strong> PASSIONS<\/strong> - Montauban Baroque Orchestra
Conductor and recorder Jean-Marc Andrieu
<\/strong>Flavio Losco, violin
Xavier Miquel, oboe
Nicolas André, bassoon
Etienne Mangot, cello
Yvan Garcia, harpsichord<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Actus$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 20/03/2024 20:00 CET\n <\/small>\n <\/p>\n\n
\n Actus tragicus\n <\/h3>\n\n \n Aube Musique Ancienne\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
Concert based on the cantata BWV 106 by JS BACH, with complementary cantatas by D. BUXTEHUDE BuxWV 10 (Befiehl dem engel) and BuxWV 62 (Jesu, meines lebens Leben) and other motets.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
La Compagnie des Humbles, vocal ensemble
Stéphanie REVILLION, Soprano
Emilie CUNIN, Soprano
Julien FREYMUTH, alto
Jean-Luc BAUDOIN, Tenor
Simon POUX, Baritone
Stefano INTRIERI, organ
Flore SEUBE, Viola de Gambe,
Hélène BURLE, recorder,
Axel VEZY, recorder<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"La$ \n <\/div>\n <\/div>\n\n
\n \n Online\n <\/span>\n\n
\n \n 20/03/2024 20:00 CET\n <\/small>\n <\/p>\n\n
\n La Serenata Ritrovata\n <\/h3>\n\n \n La Risonanza/ Associazione Hendel\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
After extensive research and collaboration among a musicologist, composer, musician, and poet-translator, Johann Sebastian Bach\'s Serenade BWV 66a, \"Der Himmel dacht auf Anhalts Ruhm und Glück,\" is revived! Unheard since December 10th, 1718.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Federica Napoletani - soprano<\/div>
Angela Hyun Jung Oh - alto<\/div>
Karol Kusz - tenore<\/div>
Valerio Zanolli - basso<\/div>
Andrea Mion, Elisabeth Passot - oboes<\/div>
Giovanni Battista Graziadio - bassoon<\/div>
Jorge Jimenez, Ulrike Slowik, Rossella Borsoni, Beatrice Scaldini, Joanna Dobrowolska, Davide Medas, Laura Cavazzuti - violins
Livia Baldi, Zeno Scattolin - violas<\/div>
Caterina Dell’Agnello, Agnieszka Oszanca - cellos<\/div>
Guisella Massa – violone<\/div>
Fabio Bonizzoni – harpsichord and conducting <\/div>\n <\/div>\n\n
\n\n
La Serenata Ritrovata<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Il$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 18:00 CET (21/03/2024 18:00 CET)\n <\/small>\n <\/p>\n\n
\n Il Lautenwerk, un cembalo raro \n <\/h3>\n\n \n Academia Montis Regalis \n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
Harpsichord Recital by Franz Silvestri <\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Franz Silvestri <\/div>\n <\/div>\n\n
\n\n
https://academiamontisregalis.it/<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Versailles$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 16/03/2024 15:00 CET\n <\/small>\n <\/p>\n\n
\n Versailles Grand Bach Weekend - concert #3\n <\/h3>\n\n \n CRR\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
From Friday 15 to Sunday 17 March, the various departments of the Conservatoire de Versailles will be celebrating Bach\'s genius with a series of seven concerts featuring a variety of programmes.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Computer-assisted music
Harp
Piano
Chamber music<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Karaoké$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 25/03/2024 14:00 CET\n <\/small>\n <\/p>\n\n
\n Karaoké médiéval\n <\/h3>\n\n \n La Camera delle Lacrime & Clermont Auvergne Opéra\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
Students from the Clermont-Ferrand area join our professional musicians on stage or in the audience to sing medieval songs.<\/div>

<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Bruno Bonhoure and Khaï-Dong Luong<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"La$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 21:00 CET\n <\/small>\n <\/p>\n\n
\n La Guitarre Royalle\n <\/h3>\n\n \n Associazione MusicaMente\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
The programme \'La Guitarre Royalle\' brings together music from the entire production of Francesco Corbetta (Pavia 1615 - Paris 1681). Starting with his first Bolognese print of 1639 up to the second Parisian edition of the Guitarre Rqyalle of 1674, the apex of his production, which combines in a refined manner the Italian style with its Spanish influences, with the French style, well assimilated by the Pavia composer during his stay in Versailles in the Lullian period.

A witness, with his printed collections, to the compositional evolution of guitar music from a simple chordal accompaniment to music as elaborate and complex as any other instrument, Corbetta reaches the apex of this instrumental wisdom with the pieces for two guitars. It is not a question of a solo guitar accompanied by the second, but rather of two guitars in dialogue, whose summed chords create real \'harmonic clusters\' rich in overtones, and whose melodic lines s1 move m1 counterpoint. <\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
I Bassifondi, Gabriele Miracle: percussion
Ror Zuljan: baroque guitar
Simone V allerotonda: baroque guitar and direction<\/div>\n <\/div>\n\n
\n\n
https://www.associazionemusicamente.com<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Airy$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 18:00 CET (21/03/2024 18:00 CET)\n <\/small>\n <\/p>\n\n
\n Airy vagueness and sacred modulations\n <\/h3>\n\n \n Conservatorio di Musica "G. Rossini"\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
On Thursday 21 March, the Rossini Conservatoire celebrates the European Day of Early Music 2024 at the Rossini National Museum. Instituted by the European Community on the day of J. S. Bach\'s birth (1685) and the spring equinox, the celebration aims to ideally unite Europe in the sign of its millenary musical tradition (from the Middle Ages to the end of the 18th century), symbolised by the great Leipzig, and at a moment of rebirth to life marked by the shift of the Sun\'s hemisphere.

For the occasion, students and teachers of the CRoMA (Conservatorio Rossini Musica Antica) ensemble are proposing a concert entitled Ariose vaghezze e Sacre modulazioni, ovvero la monodia accompagnata del Seicento italiano per arciliuto e voci.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Prof. Pietro Prosser archlute
Giulia Silvestri, Laura Luciani, Jungmi Park sopranos<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Lunchtime$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 12:00 CET (21/03/2024 12:00 CET)\n <\/small>\n <\/p>\n\n
\n Lunchtime concert\n <\/h3>\n\n \n Stiftung Händel-Haus\n <\/span>\n\n \n Germany<\/strong>\n <\/span>\n\n \n
At the lunchtime concert, students from the Institute of Music at Martin Luther University Halle-Wittenberg invite you on a half-hour journey through the soundscapes of the Baroque era. A concert experience that is designed for the length of a lunch break and can be wonderfully integrated into the working day.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Students of the Music Department of the MLU<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Arian$ \n <\/div>\n <\/div>\n\n
\n \n Online\n <\/span>\n\n
\n \n 21/03/2024 16:00 CET (21/03/2024 16:00 CET)\n <\/small>\n <\/p>\n\n
\n Arian | nairA – Looking for Caterina\n <\/h3>\n\n \n Voces Suaves \n <\/span>\n\n \n Switzerland<\/strong>\n <\/span>\n\n \n
A theatrical musical performance dedicate to the singer Caterina Martinelli. Who was this young woman, to whom Monteverdi addressed one of his most moving madrigal cycles? Ensemble Voces Suaves follows her elusive footsteps. <\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Performers: Ensemble Voces Suaves; Music: Claudio Monteverdi, Marco da Gagliano as well as a new commissioned piece by Lukas Huber; Stage direction: Deda Cristina Colonna. <\/div>\n <\/div>\n\n
\n\n
Video<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Sacred$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 23/03/2024 20:30 CET\n <\/small>\n <\/p>\n\n
\n Sacred Spanish polyphonies\n <\/h3>\n\n \n A VOUS SANS AUTRE\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
A concert of a capella music devoted to sacred Spanish polyphony. These rigorous, noble polyphonies from the Golden Age seem to be striving for an ideal of musical perfection through sobriety and even pared-down simplicity. They go straight to the point and impose themselves on us. They stretch out time, captivating our ears and capturing our hearts!<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Ensemble Vocal A VOUS SANS AUTRE<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Versailles$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 16/03/2024 17:00 CET\n <\/small>\n <\/p>\n\n
\n Versailles Grand Bach Weekend - concert #5\n <\/h3>\n\n \n CRR de Versailles Grand Parc\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
From Friday 15 to Sunday 17 March, the various departments of the Conservatoire de Versailles will be celebrating Bach\'s genius with a series of seven concerts featuring a variety of programmes.

<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Harpsichord
Piano
Cello<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Rediscovering$ \n <\/div>\n <\/div>\n\n
\n \n Online\n <\/span>\n\n
\n \n 02/02/2024 20:00 CET\n <\/small>\n <\/p>\n\n
\n Rediscovering Abos\n <\/h3>\n\n \n Festivals Malta\n <\/span>\n\n \n Malta<\/strong>\n <\/span>\n\n \n
The Abos Project & Consort was first set up as The Monteverdi Project at the behest of Kenneth Zammit Tabona in 2017. The Project is an educational/musicological project created to bring awareness of the vocality of the Renaissance and Baroque periods to Malta.<\/div>
Entrusted from the very beginning to the care of Italian musician Marco Mencoboni the Project has targeted young Maltese singers achieving from the very beginning important results both musically and performatively. It is considered one of the most important Maltese musical projects. Over the years, concerts, operas, master classes and collaborations have been held withspecialised singers such as Emma Kirkby, Gabriele Lombardi, and Riccardo Pisani just to name a few. Significant musicological recovery work has been devoted to the study of the abundant musical material in the Mdina Cathedral archives, which has resonated again after centuries of oblivion. The future of the project is particularly oriented to the revaluation of the vocal and instrumental works of the Maltese composer Girolamo Abos, whose impressive musical legacy has recently emerged. The Abos Project and Consort is coordinated by Maltese singer Gillian Zammit, and is produced and managed by Festivals Malta.<\/div>

<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Sopranos:<\/div>
Francesca Aquilina<\/div>
Maria Grazia Grech<\/div>
Maria Micallef Tortell<\/div>
Analise Mifsud<\/div>
Nadia Vella<\/div>
Bettina Zammit<\/div>
Gillian Zammit<\/div>

<\/div>
Altos: <\/div>
Francesca Buhagiar<\/div>
Raisa Marie Micallef<\/div>
Bianca Simone<\/div>

<\/div>
Tenors:<\/div>
Tom Armitage<\/div>
Karl Cassar<\/div>
Stanley Joe Portelli<\/div>

<\/div>
Basses:<\/div>
Mark Bartolo<\/div>
Christian Debono<\/div>

<\/div>\n <\/div>\n\n
\n\n
Facebook<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"TERPSICHORE!$ \n <\/div>\n <\/div>\n\n
\n \n Online\n <\/span>\n\n
\n \n 22/03/2024 20:00 CET\n <\/small>\n <\/p>\n\n
\n TERPSICHORE! - WHEN MUSIC DANCES\n <\/h3>\n\n \n Stockholm Early Music Festival\n <\/span>\n\n \n Sweden<\/strong>\n <\/span>\n\n \n
World première of an innovative choreography to Terpsichore, based on Michael Praetorius\' (1571-1621) masterful suite of more than 300 instrumental dances. The muse of dance is the main character in the composer’s most famous and only surviving secular piece.

<\/div>
Nine muses, nine musicians, nine dance styles in a colorful, sparkling cavalcade that spans time and continents, based on the Renaissance image of ancient Greece. Bransle, galliard, volta and courant become everything from baroque, oriental and Indian dance to ballet, voguing and flamenco. The nine muses represent the movement of the body and the mind, what we cannot possess but still experience. <\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
The Nine Muses:
Josefine Chiacchiero, flamenco
Nora Ekman, classical ballet
Matilda Larsson, baroque dance
Elisabeth Ludwig, contemporary dance, pantomimµ
Eva Fanadi, belly dance fusion
Kyrie Oda, contemporary dance, butoh
Linnéa Redblad, nordic folk dances
Pauline Reibell, Indian classical dances
Mathias Terwander Stintzing, voguing, waacking<\/div>
<\/div>
The Nine Musicians:<\/div>
Ann Allen, shawm, bombard, recorder<\/div>
Anna Schall, cornetto, recorder<\/div>
Silke Gwendolyn Schulze, shawm, bombard, recorder, pipe & tabor<\/div>
Nils Carlsson, renaissance trombone<\/div>
Dohyo Sol, lute, baroque guitar<\/div>
Nora Roll, viol<\/div>
Markus Eriksson, viol<\/div>
Göran Månsson, percussion<\/div>
Daniel Stighäll, renaissance trombone, musical direction<\/div>\n <\/div>\n\n
\n\n
Watch the concert<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Music$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 18:00 CET\n <\/small>\n <\/p>\n\n
\n Music for a while – Dilettanti eruditi e mecenati\n <\/h3>\n\n \n Conservatorio statale di Musica "G. B. Martini", Bologna\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
The concert celebrates the Early Music Day and the donation of a virginal and several recorders and traversos to the Conservatorio by a Bolognese music lover and amateur player. According to the quality of the instruments, the concert is entirely dedicated to the English music (J. Dowland, Th. Morley, H. Purcell, W. Lawes).<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Ensemble di Musica antica del Conservatorio “G. B. Martini”<\/div>
Cleonice Sabrina Bortolotti, Margherita Minardi, Amelia Rossi Fioravanti, Ufuk Aslan, Luca Fanteria, voices<\/div>
Stefano Gerard, So-Yeong Baik, violins<\/div>
Francesco Lussignoli, Daniele Salvatore, traverso and recorder<\/div>
Federica Bettelli, Luca Piccini, viol da gamba<\/div>
MIchele Barbieri, Michela De Pasquale, Laura di Cera, Yui Mochizuki, Giuditta Pizzilli, harpsichord<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Johannespassionen$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 19:00 CET\n <\/small>\n <\/p>\n\n
\n Johannespassionen \n <\/h3>\n\n \n Kristus Konungens Vokalensemble \n <\/span>\n\n \n Sweden<\/strong>\n <\/span>\n\n \n
In 2024-2027, the Christ the King Vocal Ensemble is staging a series of concerts on the theme \'300 years after Bach\'. On 21 March it is time for the St. John Passion by J.S. Bach with the Christ the King Vocal Ensemble, musicians from Karlsson Barock and soloists under the direction of Samuel Eriksson.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Christ the King Vocal Ensemble & Karlsson Baroque under the direction of Samuel Eriksson
Anna Jobrant, soprano soloist
Amanda Flodin, alto soloist
Thomas Volle, evangelist and tenor soloist
Karl Söderström, Christ and bass soloist
Richard Sandblom, Pilate and bass soloist<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Guided$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 12:30 CET (21/03/2024 12:30 CET)\n <\/small>\n <\/p>\n\n
\n Guided tour of the history of architecture\n <\/h3>\n\n \n Stiftung Händel-Haus\n <\/span>\n\n \n Germany<\/strong>\n <\/span>\n\n \n
Karl Altenburg, a member of the museum staff, sheds some light on the dark history of the construction of Handel\'s house and guides visitors* through the vaulted cellar and the impressive plank room.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Altenburg Karl, Museum historian<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Wolfgang$ \n <\/div>\n <\/div>\n\n
\n \n \n <\/span>\n\n
\n \n 22/03/2024 19:00 CET\n <\/small>\n <\/p>\n\n
\n Wolfgang Amadeus Mozart & Joseph Haydn Quartets\n <\/h3>\n\n \n THE MOZARTISTS\n <\/span>\n\n \n United Kingdom<\/strong>\n <\/span>\n\n \n
This film forms part of The Mozartists’ ongoing MOZART 250<\/strong> series, and contains three works for string quartet that date from 1772.

<\/div>MOZART 250 is the brainchild of The Mozartists’ conductor and artistic director Ian Page, and is conceived as a 27-year project that follows the chronological trajectory of the composer’s life and works in ‘real time’, running from the 250th anniversary of his childhood visit to London in 2014/15 to the 250th anniversary of his death in December 2041. In addition to anniversary performances of many of Mozart’s works, the series also seeks to deepen our understanding and appreciation of his music by contextualising it alongside the music of his contemporaries, and the series has already featured music by nearly fifty other composers, from Abel to Zimmermann.

<\/div>
Reflecting both Mozart’s early compositional output and The Mozartists’ own identity, the first few years of MOZART 250 have focused predominantly on orchestral and vocal music, but in 2021 we responded to COVID restrictions (which for a while stipulated that no more than six musicians could perform together) by creating a series of films of chamber music by Mozart, Haydn and Johann Christian Bach. The featured works all dated from 1763-1771, and will be used to populate the MOZART 250 website that we are in the process of building.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Matthew Truscott, violin 1<\/div>
Julia Kuhn, violin 2<\/div>
Max Mandel, viola<\/div>
Sarah McMahon, cello<\/div>\n <\/div>\n\n
\n\n
Watch the concert<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"The$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 22/03/2024 18:00 CET (22/03/2024 18:00 CET)\n <\/small>\n <\/p>\n\n
\n The Conservatori celebrates the Day of Ancient Music\n <\/h3>\n\n \n Conservatori Professional de Música de Menorca\n <\/span>\n\n \n Spain<\/strong>\n <\/span>\n\n \n
Students and teachers of the Professional Conservatory of Music of Menorca will perform solo pieces, chamber music and choir, in a unique palace, ideal for performing early music.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Violeta Florit Triay, flute
Gerard Gilabert Solé, oboe
Martí Camps Cortadella, clarinet
Alfonso Barros Cueto, horn
Pere Melis Taltavull, bassoon
Jorge Munuera, violoncello
Jana Gener, violoncello
Jorge Pérez, viola
Lluc Llorens, Toni Pons, Emna Alfageme, Carla García, trombones
Marina Torres, violí
Carme Majancoses, violí
Aurora Pons, violí
Gibet Salort, violí
Arjau Ferrer, violoncel
Choir: Carme Majancoses, Roger Salord, Shenjie Zhu, Xavier Santana, Daniela Gonzalez, Dayke Criado

Professors:Isabel Juaneda, Gonzalo Lacruz, Pedro Munuera, Eva Febrer, Àlvaro Cardona, Jorge Pérez, Óliver Vinent<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Bach$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 25/02/2024 16:25 CET (25/02/2024 16:25 CET)\n <\/small>\n <\/p>\n\n
\n Bach - Kunst der Fuge\n <\/h3>\n\n \n Bozar\n <\/span>\n\n \n Belgium<\/strong>\n <\/span>\n\n \n
Discover a unique interpretation of Johann Sebastian Bach’s unfinished masterpiece, “The Art of Fugue.” Hathor Consort and two dancers give their special take on the fugues and canons that illuminate Bach’s compositional genius and spiritual depth. The performance not only showcases the interplay between theme and counterpoint but also provides novel insights into the transient essence of the composition.

In this unique rendition, four violas da gamba and two dancers meld into Bach’s intricate polyphony. Experience Bach’s crowning achievement, where a seemingly simple theme evolves into a captivating kaleidoscope of musical colors and all while witnessing the seamless connection between the dancers. This approach renews our understanding of the work, revealing its fleeting nature. A furtive, eclectic moment that reveals the immense richness of our bodies and our humanity.<\/blockquote>

<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Jason Respillieux, Frank Gizycki - dance & choreography
& HATHOR CONSORT Romina Lischka - treble viol & artistic direction, Joshua Cheatham - alto viol, Nicholas Milne, tenor viol, Irene Klein - bass viol<\/blockquote>

<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Haydn’s$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 13/03/2024 20:45 CET (13/03/2024 20:45 CET)\n <\/small>\n <\/p>\n\n
\n Haydn’s Seven Last Words\n <\/h3>\n\n \n Associazione Filarmonica di Rovereto\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
The young international period instrumentalists of Theresia Orchestra<\/strong> embark on a poignant journey for their next orchestral residency in Lodi, exploring Haydn’s original orchestral version of his masterpiece “The Seven Last Words of our Saviour on the Cross”. Commissioned by a Spanish priest in 1786 for a Good Friday service in an underground church in Cádiz, Haydn was asked to compose a series of slow, meditative “sonatas,” each relating to one of the seven last words of Christ during the crucifixion, as outlined in the Gospels of Matthew, Luke, and John. Interwoven with reflective spoken word mediations, Alfredo Bernardini <\/strong>will lead Theresia Orchestra in this meaningful work.<\/div>\n <\/div>\n\n \n Musicians<\/span>\n
Theresia Orchestra
Alfredo Bernardini - conductor<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n\n
More info about Theresia Orchestra<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Imperatrix$ \n <\/div>\n <\/div>\n\n
\n \n Online\n <\/span>\n\n
\n \n 21/03/2024 19:30 CET\n <\/small>\n <\/p>\n\n
\n Imperatrix Agatha\n <\/h3>\n\n \n EGERIA\n <\/span>\n\n \n Spain<\/strong>\n <\/span>\n\n \n
Imperatrix Agatha, is a program configured as a tribute to the figure of Saint Agatha, through the repertoires contained in the Tropario of Catania, a 12th century manuscript kept in the National Library of Spain.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
-Lucía Marín-Maestro Verbo, voice, lyra and direction
-Fabiana Sans Arcílagos, voice, percussion and co-direction
-Ileana Ortiz Rodriguez, voice
-Fanny Constans, voice<\/div>\n <\/div>\n\n
\n\n
YouTube<\/a><\/li>\n\n
Spotify<\/a><\/li>\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Café$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 24/03/2024 15:00 EET (24/03/2024 14:00 CET)\n <\/small>\n <\/p>\n\n
\n Café Barock Universum: Leçons de ténèbres\n <\/h3>\n\n \n Café Barock / Ensemble Nylandia\n <\/span>\n\n \n Finland<\/strong>\n <\/span>\n\n \n
François Couperins<\/strong> Leçons de ténèbres <\/em>is one of the most significant works of the French Baroque. In addition the program will include Couperin\'s gentle melancholy music from his series no.2 for viola da gamba and continuo.<\/div>\n <\/div>\n\n \n Musicians<\/span>\n
Elina Rantamäki, soprano
Anna-Maaria Oramo, mezzosoprano
Johanna Randvere, viola da gamba
Laura Ollberg-Ekman, organ<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n\n
Facebook<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Concerto$ \n <\/div>\n <\/div>\n\n
\n \n Online\n <\/span>\n\n
\n \n 21/03/2024 18:00 CET\n <\/small>\n <\/p>\n\n
\n Concerto Il sonar cantando: Girolamo Frescobaldi\n <\/h3>\n\n \n Conservatorio di musica "Giuseppe Verdi" di Milano\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
Among the musicians who were active in the first half of the seventeenth century, Girolamo Frescobaldi (Ferrara, 1583 - Rome, 1643)stands out not only as an organist whose virtuosity and technical skill were superlative and incomparable, but also as a formidable musician who was able to interpret the artistic stirrings in the musical language of his time and to incorporate them, in an effective and significant way, into his vast production for keyboard instruments. <\/div>
Frescobaldi not only inaugurates a new manner of playing but also illustrates a new refined “modus componendi” through a language of astonishing modernity. <\/div>
The concert offers pages taken from his printed (Libro I Toccatas, Libro II Toccatas) and unpublished (Chigi Codex ) music collections.<\/div>
It is music that seduce by its spontaneity, by its freshness, by the naturalness of the lyric melodic gesture. <\/div>
In fact, the pages of the illustrious organist enjoy the luminous and fascinating sonorities of a magnificent example of Italian organ building art, belonging to one of the most famous dynasties of Brescian builders, active in the years between the sixteenth and seventeenth centuries: the Antegnati. In particular, it is an ancient organ built by Gian Giacomo Antegnati in 1554, located, in the mirifica Church of San Maurizio al Monastero Maggiore in Milan.<\/div>
These pages are so imbued with a great expressive intensity and a poignant grace that, even today, they amaze us with their relevance. They are compositions permeated by a magic of sounds and an emotional tension that seems to never end.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Ivana Valotti, Organ professor (at Conservatorio di musica \"Giusepe Verdi\" di Milano)<\/div>\n <\/div>\n\n
\n\n
Facebook<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Haydn’s$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 14/03/2024 21:00 CET (14/03/2024 21:00 CET)\n <\/small>\n <\/p>\n\n
\n Haydn’s Seven Last Words\n <\/h3>\n\n \n Associazione Angelo Marini\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
The young international period instrumentalists of Theresia Orchestra<\/strong> embark on a poignant journey for their next orchestral residency in Lodi, exploring Haydn’s original orchestral version of his masterpiece “The Seven Last Words of our Saviour on the Cross”. Commissioned by a Spanish priest in 1786 for a Good Friday service in an underground church in Cádiz, Haydn was asked to compose a series of slow, meditative “sonatas,” each relating to one of the seven last words of Christ during the crucifixion, as outlined in the Gospels of Matthew, Luke, and John. Interwoven with reflective spoken word mediations, Alfredo Bernardini <\/strong>will lead Theresia Orchestra in this meaningful work.<\/div>\n <\/div>\n\n \n Musicians<\/span>\n
Theresia Orchestra
Alfredo Bernardini - conductor
Archbishop of Ravenna - narrator<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n\n
More info about Theresia Orchestra<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Zum$ \n <\/div>\n <\/div>\n\n
\n \n Online\n <\/span>\n\n
\n \n 21/03/2024 09:00 CET\n <\/small>\n <\/p>\n\n
\n Zum Europäischen Tag der Alten Musik\n <\/h3>\n\n \n BR-KLASSIK\n <\/span>\n\n \n Germany<\/strong>\n <\/span>\n\n \n
One day with Ancient Music on the radio and on the web, including a new Bach-video with Xenia Löffler with a view from inside her oboe, the internationally acclaimed production of Handel’s “Flavio” at the Bayreuth Baroque Opera Festival and one hour of music with REMA ambassador Dorothee Oberlinger<\/div>\n <\/div>\n\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Grand$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 23/03/2024 19:30 CET\n <\/small>\n <\/p>\n\n
\n Grand Tour \n <\/h3>\n\n \n All'Antica Musika\n <\/span>\n\n \n Spain<\/strong>\n <\/span>\n\n \n
It is a multidisciplinary scenic proposal that mixes ancient baroque English, French and Italian, music seeking a reunion between the past and the present.

<\/div>
With this concert we want to publicize a deeply rooted custom at the end of the 17th century that consisted of taking a trip through Europe, with Italy as the destination key, undertaken by young Europeans of sufficient means, when they had reached the age of majority (around 21 years old).<\/div>

<\/div>
Interspersing brief explanatory comments between the different national styles, contextualizes the music and helps the viewer place themselves in the time of Purcell, of the Palace of Versailles and the Italian baroque, where music played a role fundamental. <\/div>

<\/pre>
<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Laiene Alcalá Soprano, Diego Parra Baroque Violín, David Sáez Recorders, Silvia Cantatore Viola da gamba, Teresa Merino Theorbo, Elvira Pujol Harpsichord<\/div>
<\/div>
<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Romantic$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 22/03/2024 15:49 CET\n <\/small>\n <\/p>\n\n
\n Romantic Lab | The Haarlem Sessions: Exploring the Classical Style\n <\/h3>\n\n \n Romantic Lab\n <\/span>\n\n \n Netherlands<\/strong>\n <\/span>\n\n \n
In a dynamic collaboration, Rachael Beesley (violin), Artem Belogurov (fortepiano), and Octavie Dostaler-Lalonde (cello) present this inaugural international solo and chamber music masterclass, held in the Lutherse Kerk in Haarlem, Netherlands.

Titled \"Haarlem Sessions - Exploring the Classical Style\", this immersive program invites curious students and professionals of the fortepiano and HIP strings to delve into the Classical style.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Octavie Dostaler-Lalonde, Artem Belogurov, Rachael Beesley<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"CONCERT:$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 22/03/2024 20:00 CET\n <\/small>\n <\/p>\n\n
\n CONCERT: MEDITATIONS FOR LENT\n <\/h3>\n\n \n HARMONIA SACRA\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
Motets for three male voices under Louis XIV
<\/strong>The quintessence of the sacred repertoire of the Grand Siècle, pieces by Charpentier, Du Mont, Lully, Danielis and Clérambault - at the heart of French Baroque music, where theatricality, suavity and sacredness mingle and merge.<\/div>\n <\/div>\n\n \n Musicians<\/span>\n
Vincent LIEVRE-PICARD countertenor
Olivier FICHET waist
Maxime SAÏU bass
Clémence SCHILTZ bass violin
Diego SALAMANCA theorbo
Jean-Miguel ARISTIZABAL organ
Yannick LEMAIRE conductor<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Migrating$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 19:00 CET\n <\/small>\n <\/p>\n\n
\n Migrating Birds - the Virtuosity of Medieval Dances\n <\/h3>\n\n \n EARLY MUSIC SWEDEN\n <\/span>\n\n \n Sweden<\/strong>\n <\/span>\n\n
\n
EARLY MUSIC DAY<\/strong> is celebrated in Stockholm by a meeting between Danish recorder player Clara Guldberg Ravn<\/strong> and Swedish hurdy-gurdy player Johannes Geworkian Hellman<\/strong>. Their join forces bring new life to instrumental dances from European medieval manuscripts. By painting the music with fresh colors, with virtuosity, passion and joy, they invite the listeners is to a distinctive and memorable artistic experience.

NB The concert is broadcast by the SWEDISH RADIO and EBU<\/strong>.

PROGRAMME:<\/strong>

Music from an Tuscanian 14th century manuscript (Add MS 29987, British Museum)<\/div>

<\/div>
Ghaetta<\/strong> (Anonyma)

<\/div>
Saltarello no.1<\/strong> (Anonyma)

<\/div>
Tre Fontane<\/strong> (Anonyma)

<\/div>
In Principio di Virtu<\/strong> (Anonyma)

<\/div>
Lamento di Tristano<\/strong> (Anonyma)

<\/div>
Saltarello no.3 <\/strong>(Anonyma)

<\/div>
Chominiciamento di Gioia<\/strong> (Anonyma)

<\/div>
La Manfredina - La Rotta<\/strong> (Anonyma)<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Clara Guldberg Ravn, recorder
Johannes Geworkian Hellman, hurdy-gurdy <\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"ORA$ \n <\/div>\n <\/div>\n\n
\n \n Online and On-site\n <\/span>\n\n
\n \n 21/03/2024 18:00 CET\n <\/small>\n <\/p>\n\n
\n ORA early music festival / ORA_Bach!\n <\/h3>\n\n \n Mozarteum University Salzburg\n <\/span>\n\n \n Austria<\/strong>\n <\/span>\n\n \n
Bach\'s Musical Offering BWV 1079 continues to inspire today artists for new interpretations, re-creations and new creations. The canons and the two ricercare show proof of Bach\'s unreachable mastery in the field of polyphony. In the trio sonata, this is finally combined with the common musical language of the late Baroque. Bach unquestionably marks the high point of this genre in music history.
The trio sonata forms the framework for this concert, works of the 20th and 21st centuries by Isang Yun and Wen-Chen Wei, but also other works from Bach\'s pen.

Bach\'s most important organ works - a milestone in music literature! In the second concert of the evening, however not on the large organ of the Mozarteum Foundation, but in an arrangement played by the Wind Philharmonic Orchestra of the University Mozarteum under the direction of Andreas Martin Hofmeir. Instead of pipes controlled by the keyboard, all the classical wind instruments can be heard and the organ comes to life!<\/div>
This is accompanied by the great fantasy \"Bachseits\" by Johannes Stert and the eagerly awaited world premiere of a composition by the Russian-Ukrainian composer Vladimir Tarnopolski on the Bach chorale \"Das alte Jahr vergangen ist\".<\/strong><\/div>The work was commissioned by the Institute for New Music and combines historical and contemporary instruments in a wonderful way.
This world premiere will be conducted by Simone Fontanelli<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
ORA_ Bach
21.03.2024 - Grosser Saal, Stiftung Mozarteum
18:00 Uhr - Musikalische Opfer
<\/em>
Dorothee Oberlinger, Blockflöte
Manuel Granatiero, Traversflöte
Yuki Serino, Violine
William Coleman, Viola
Vittorio Ghielmi, Viola da Gamba
Flavio Losco, Barockvioline
Florian Birsak, Cembalo

20:30 Uhr Bach alive –Konzert der Bläserphilharmonie Mozarteum
<\/em>Wind Philharmonic Orchestra of the University Mozarteum
Musical direction
Andreas Martin Hofmeir and Simone Fontanelli<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Haydn’s$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 12/03/2024 21:00 CET (12/03/2024 21:00 CET)\n <\/small>\n <\/p>\n\n
\n Haydn’s Seven Last Words\n <\/h3>\n\n \n Teatro alle Vigne\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
The young international period instrumentalists of Theresia Orchestra embark on a poignant journey for their next orchestral residency in Lodi, exploring Haydn’s original orchestral version of his masterpiece “‘The Seven Last Words of our Saviour on the Cross”. <\/div>
Commissioned by a Spanish priest in 1786 for a Good Friday service in an underground church in Cádiz, Haydn was asked to compose a series of slow, meditative “sonatas,” each relating to one of the seven last words of Christ during the crucifixion, as outlined in the Gospels of Matthew, Luke, and John. Interwoven with reflective spoken word mediations, Alfredo Bernardini <\/a>will lead Theresia Orchestra in this meaningful work. <\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Theresia Orchestra
Alfredo Bernardini - conductor
Antonio Messina - narrator<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n\n
More info about Theresia Orchestra<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"TODOS$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 20/03/2024 18:00 CET\n <\/small>\n <\/p>\n\n
\n TODOS LOS MALES\n <\/h3>\n\n \n Centro di Musica Antica Ghislieri - Fondazione Teatro Fraschini\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
Presentation with the artists and then film projection of the movie TODOS LOS MALES by Simone Derai based on the opera LES INCAS DU PEROU by J. P. Rameau that took place at Rimini for the Sagra Musicale Malatestiana on October 2022.

<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Juana Myriam Chero Tarazona - Maria Elena Soto Chero (Phani) - Marco Ciccullo (Carlos) - Cristian Alexis Alarcon Jara (Huascar) - Ekaterina Protsenko (Soprano) Nicholas Scott (Tenore) - Renato Dolcini (Baritono)
Coro Universitario del Collegio Ghislieri - Luca Colombo | Choir leader
Filarmonica Arturo Toscanini
Giulio Prandi | Conductor

Production: Sagra Musicale Malatestiana, Anagoor, Kublai Film
Director: Simone Derai
Photography: Giulio Favotto <\/div>\n <\/div>\n\n
\n\n
Video<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n \n On-site\n <\/span>\n\n
\n \n 16/03/2024 14:00 CET\n <\/small>\n <\/p>\n\n
\n Versailles Grand Bach Weekend - concert #2\n <\/h3>\n\n \n Magali\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
From Friday 15 to Sunday 17 March, the various departments of the Conservatoire de Versailles will be celebrating Bach\'s genius with a series of seven concerts featuring a variety of programmes.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Contemporary music
Chamber music
Broken consort
Harpsichord
2nd cycle choir<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Felix$ \n <\/div>\n <\/div>\n\n
\n \n Online\n <\/span>\n\n
\n \n 20/03/2024 19:00 CET\n <\/small>\n <\/p>\n\n
\n Felix Platter: A Life in Music\n <\/h3>\n\n \n ReRenaissance – Forum Frühe Musik\n <\/span>\n\n \n Switzerland<\/strong>\n <\/span>\n\n \n
In 1536, just in time for the autumn fair, a child was born at Petersberg in Basel who was to make a name for himself in later years as the city’s doctor: Felix Platter. His research on anatomy, psychiatry and also his epidemiological reports at the time of the Basel plague made him, even beyond his death in 1614, one of the most important sons of the city and known throughout Europe.

<\/div>
But Felix was much more than just a physician. Already during his studies in Montpellier he received the nickname “l’Alemandt du lut”. His “verteutschten” transcriptions of French chansons and Italian madrigals from this same period represent a special musical-philological treasure.

<\/div>
The focus of this concert is the musical side of this polymath, which is once again allowed to flourish with voice, lute, viola da gamba and recorder.

<\/div>

<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Tessa Roos – voice
Ivo Haun – voice, lute, recitation
Rui Stähelin – lute and voice
Caroline Ritchie – Renaissance viola da gamba
Tabea Schwartz – recorder, viola da gamba, direction<\/div>\n <\/div>\n\n
\n\n
Watch the concert<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Versailles$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 16/03/2024 10:11 CET\n <\/small>\n <\/p>\n\n
\n Versailles Grand Bach Weekend - concert #6\n <\/h3>\n\n \n CRR de Versailles Grand Parc\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
From Friday 15 to Sunday 17 March, the various departments of the Conservatoire de Versailles will be celebrating Bach\'s genius with a series of seven concerts featuring a variety of programmes.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Baroque Orchestra 1C 2C
Baroque flute ensembles
Violin solo
Young Choir
Student conductors
Chamber music<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Telemann$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 20/03/2024 19:30 CET\n <\/small>\n <\/p>\n\n
\n Telemann "Plenty of Fantasy"\n <\/h3>\n\n \n Hamburger Ratsmusik\n <\/span>\n\n \n Germany<\/strong>\n <\/span>\n\n \n
The abundance of Georg Philipp Telemann\'s compositional ideas is inexhaustible. Unlike all his colleagues of his time he never repeats himself, always reinventing himself. In his fantasies and sonatas in this concerto, the transverse flute, viola da gamba and harpsichord compete. On the eve of Johann Sebastian Bach\'s birthday, BWV 1029 will be performed in the trio version for trasverso, viola da gamba and harpsichord. <\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Steven Zohn, traverso <\/div>
Hamburger Ratsmusik <\/div>
Simone Eckert, viola da gamba <\/div>
Anke Dennert, harpsichord <\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"BEFORE$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 19/03/2024 13:10 GMT (19/03/2024 14:10 CET)\n <\/small>\n <\/p>\n\n
\n BEFORE BACH. ORGAN RECITAL BY ANDREW BENSON-WILSON\n <\/h3>\n\n \n Andrew Benson-Wilson\n <\/span>\n\n \n United Kingdom<\/strong>\n <\/span>\n\n \n
Andrew’s annual Early Music Da<\/strong><\/a>y<\/strong> recitals are usually focussed on the music of JS Bach, reflecting the fact that Early Music Day is on 21 March, the date of Bach’s birth under the current calendar. This year, Andrew is giving two Early Music recitals, with the titles of BEFORE BACH and AFTER BACH. This first recital traces the history of German organ music from the Buxheimer Orgelbuch c1460 to Johann Pachelbel, the teacher of Bach’s older brother, Johann Christoph Bach. It seems likely that the 9-year-old Bach met Pachelbel at his older brother’s 1694 wedding.

<\/div>Other composers represent the south, centre and north of Germany, including Hans Buchner (1483-1538), Hieronymus Praetorius (1560-1629), Mathias Weckmann (1617-74) in his anniversary year, and Samuel Scheidt (1587-1654)) in the 400th anniversary of his Tabulatura nova<\/em> (1624).

<\/div>
The recital focussed on music written for the Catholic and Lutheran service of Vespers, notably the Magnificat<\/em>, one of the key musical moments of the service in both churches. We hear versions from five composers, concluding with Scheidt’s Modus Pleno Organo Pedaliter Benedicamus à 6 Voc<\/em>, composed for the conclusion of a Vespers Service as well as being the final piece in the Tabulatura nova<\/em>.

<\/div>\n <\/div>\n\n \n Musicians<\/span>\n
Andrew Benson-Wilson, organ<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Kharkiv$ \n <\/div>\n <\/div>\n\n
\n \n Online and On-site\n <\/span>\n\n
\n \n 23/03/2024 17:00 EET (23/03/2024 16:00 CET)\n <\/small>\n <\/p>\n\n
\n Kharkiv Baroque Day\n <\/h3>\n\n \n Kharkiv Kotlyarevsky National University of Arts\n <\/span>\n\n \n Ukraine<\/strong>\n <\/span>\n\n \n
Baroque music concert within the Lilac Season of the University Philharmonic<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Choir, orchestra, soloists of the University of Arts<\/div>\n <\/div>\n\n
\n\n
https://num.kharkiv.ua/<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Johann$ \n <\/div>\n <\/div>\n\n
\n \n Online\n <\/span>\n\n
\n \n 21/03/2024 08:00 CET\n <\/small>\n <\/p>\n\n
\n Johann Sebastian BACH \n <\/h3>\n\n \n FCE Continuo webradio Luxembourg\n <\/span>\n\n \n Luxembourg<\/strong>\n <\/span>\n\n \n
from 8 AM until 20 PM: 12 hours Music by Johann Sebastian Bach (and some contemporaries composers)<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Musiciens et ensembles du Grand-Duché de Luxembourg<\/div>\n <\/div>\n\n
\n\n
Music platform<\/a><\/li>\n\n
Webradio<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"La$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 03/03/2024 18:00 CET (03/03/2024 18:00 CET)\n <\/small>\n <\/p>\n\n
\n La tombe de Rameau | Reenactment of the musical setting of Jean-Philippe Rameau's funreal\n <\/h3>\n\n \n Wrocław Baroque Orchestra \n <\/span>\n\n \n Poland<\/strong>\n <\/span>\n\n \n
“Why the hell are you singing to me? \"You are out of tune, father!\" These were the last words of Jean-Philippe Rameau on his deathbed. The most important French composer of the 18th century, harpsichordist and theorist, who died on September 12, 1764, was buried the next day in the Parisian church of Saint Eustache. However, the main mourning ceremonies took place only on September 27 in the nearby oratory of the Filipino priests. Two more similar services were later held in the French capital, and Rameau was just as solemnly mourned in Avignon, Dijon, Marseille, Orleans and Rouen.
<\/strong>
<\/div>The musical core of the ceremony at the Oratoire du Louvre, which will be performed by a group of soloists, the NFM Choir and the Wrocław Baroque Orchestra under the direction of Skip Sempé, was the Messe funebre<\/em> by Jean Gilles. The work, first performed at the funeral of the composer in 1705, later became a real hit at 18th-century burials. It was performed, among others, during royal funerals – of Louis XV in 1774 and of the Polish king Stanisław Leszczyński in 1766. Over the years, the piece underwent modifications, adapting it to changing tastes and the requirements of specific occasions. It was standard, for example, to include Michel Corrette’s Carillon des Morts<\/em>–a musical illustration of the ringing bells of the Rouen Cathedral – during the Mass.

<\/div>The task of arranging Gilles’ Requiem for Rameau’s farewell ceremony probably fell to a pair of friends – François Rebel and François Francœur from the Concert Spirituel community. In just a dozen or so days between the composer’s death and the funeral service, they had to introduce their own changes to the piece, copy the notes for the performers and rehearse with them. They skilfully modified the instrumentation of the Mass, added further sections to it and incorporate fragments of the deceased’s best operas. Interestingly, they introduced the most changes at the beginning of the piece, and the closer to the last bars, the closer their adaptation is to the original. The approaching deadline cooled down the aroused ambitions of the organisers of the musical setting. Despite the need to make an artistic compromise, the arrangement of the Mass was intended to deeply move the 1,500 mourners gathered at the ceremony. “The Requiem<\/em> pierced the French with pain, while the Italians trembled with terror,” Corette complimented on this performance. <\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Skip Sempé – conductor
Soloists
NFM Choir
Lionel Sow – artistic direction of the NFM Choir
Wrocław Baroque Orchestra
Jarosław Thiel – artistic direction of Wrocław Baroque Orchestra <\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Like$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 23/03/2024 20:00 CET\n <\/small>\n <\/p>\n\n
\n Like father, like son...?\n <\/h3>\n\n \n Itinéraire Baroque en Périgord\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
Organ concert in the church of Saint-Astier (24) given by Jan Willem Jansen. On the programme: Johann Sebastian Bach and his descendants: Carl Phillip Emanuel, Wilhem Friedeman, Johann Christoph Friedrich! Let\'s retrace over 100 years of Bach compositions together.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Jan Willem Jansen, organist<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Inaugural$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 11:11 CET (21/03/2024 11:11 CET)\n <\/small>\n <\/p>\n\n
\n Inaugural Concert of the 6th International Festival of Early Music 'Timeless Notes\n <\/h3>\n\n \n Note senza tempo festival internazionale di musica antica\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
On World Early Music Day, the festival opens its 6th edition with two extraordinary cantatas by J.S. Bach
Cantata No. 131
Aus der Tiefen rufe ich, Herr, zu dir

Cantata No. 106
Gottes Zeit ist die allerbeste Zeit - Actus Tragicus<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
La Calandria Ensemble
ALIDA OLIVA soprano
BIANCA SIMONE alto
JIANGCHEN HE tenor
DECIO BIAVATI bass

WILLELM PEERIK organ and direction<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Ritual\"$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 19:30 CET\n <\/small>\n <\/p>\n\n
\n Ritual\n <\/h3>\n\n \n Fundació Cultural CDM\n <\/span>\n\n \n Spain<\/strong>\n <\/span>\n\n \n
Sephardic and Arab-Andalusian chants.

<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Capella de Ministrers
Françoise Atlan, voice
Carles Magraner, director, rebec and violas
Aziz Samsaoui, Kanún, saz and oud
Kaveh Sarvarian, nay and tombak
Jota Martínez, citole, lute and percussion

<\/div>\n <\/div>\n\n
\n\n
Video<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"LUDI$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 14:52 CET (21/03/2024 14:52 CET)\n <\/small>\n <\/p>\n\n
\n LUDI MUSICI // 1621\n <\/h3>\n\n \n AS TIME GOES BY - A new Consort of Music\n <\/span>\n\n \n Slovakia<\/strong>\n <\/span>\n\n \n
Instrumental music from the beginning of the 17th century

<\/div>
At the beginning of the 17th century, a large number of musicians undertook hundreds of kilometers of arduous travel to train with and be inspired by the esteemed “Orpheus of Amsterdam” Jan Pieterszoon Sweelinck, the organist, improviser and composer at the Oude Kerk in Amsterdam.
This profound influence can be found in our program along with the contrapuntally artistic, expressively magnificent and profoundly melancholic works from the emerging composers.
The true meaning of the collection of dances by Samuel Scheidt titled Ludi Musicis from 1621 were pertaining to the true minstrels and virtuosos of the time- namely the composers themselves.

AS TIME GOES BY – A NEW CONSORT OF MUSIC is passionate about the jewels of consort music for recorders from the 16th and 17th centuries. The Vienna-based ensemble plays on a variety of recorders based on historical replicas in different sizes.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Luca Anna Várhelyi, Eunsol Lee, Barbora Špelinová, Stefan Tokár, Carsten Eckert - recorder<\/div>\n <\/div>\n\n
\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Versailles$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 16/03/2024 16:00 CET\n <\/small>\n <\/p>\n\n
\n Versailles Grand Bach Weekend - concert #4\n <\/h3>\n\n \n CRR de Versailles Grand Parc\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n
\n
From Friday 15 to Sunday 17 March, the various departments of the Conservatoire de Versailles will be celebrating Bach\'s genius with a series of seven concerts featuring a variety of programmes.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Piano (solo and 4 hands)
Guitar
Concerto for two harpsichords and strings<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Andrea$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 19:00 EET (21/03/2024 18:00 CET)\n <\/small>\n <\/p>\n\n
\n Andrea Falconieri "Il napoletano"\n <\/h3>\n\n \n Musicians of the King’s Road (Kuninkaantien muusikot)\n <\/span>\n\n \n Finland<\/strong>\n <\/span>\n\n \n
To celebrate the Early Music Day, Musicians of the King’s Road performs a programme with rarely heard music by the Neapolitan composer Andrea Falconieri. The concert is held in Turku Cathedral.

Musicians of the King’s Road plays on period instruments. Concertmaster is Anthony Marini and soloist is the Italian mezzo-soprano Valentina Ferrarese.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Anthony Marini, concertmaster
Valentina Ferrarese, mezzo-soprano<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Il$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 17:00 CET\n <\/small>\n <\/p>\n\n
\n Il Tessuto dei Sogni / The Fabric of Dreams\n <\/h3>\n\n \n ISIS CARDUCCI - DANTE\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
It\'s a transcription of \'A Midsummer Night\'s Dream\' by Shakespeare in three languages: English, Italian and Triestine dialect, written and played by the school\'s classical students. The play is accompanied by the music of The Fairy Queen <\/em>by Purcell, played by the school\'s early music students. <\/div>\n <\/div>\n\n \n Musicians<\/span>\n
50 students of Classical and Musical High School \'Carducci-Dante\' of Trieste (aged 16-19) <\/div>
Philosophy teacher Mrs Elsa Zibai, English teacher Mrs Anna Pettener, <\/div>
Early music MM Teodora Tommasi, Arstistic supervision MM Fanni Cannelles (Accademia Ars Nova) <\/div>

<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"The$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 19/03/2024 19:30 GMT (19/03/2024 20:30 CET)\n <\/small>\n <\/p>\n\n
\n The King’s Playlist\n <\/h3>\n\n \n Leamington Music\n <\/span>\n\n \n United Kingdom<\/strong>\n <\/span>\n\n \n
The first ever Radio 3 New Generation Baroque Ensemble finishes the season in the Court of the Sun King, Louis XIV, with a soundtrack of music written and dedicated to every moment of the King’s Day. Works by Charpentier, Lully, Couperin, Delalande, Marais, and more.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Ensemble Molière
Flavia Hirte flute,
Alice Earle violin,
Catriona McDermid bassoon,
Kate Conway viola da gamba,
Satoko Doi-Luck harpsichord<\/div>\n <\/div>\n\n
\n\n
Video<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Early$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 11:30 GMT (21/03/2024 12:30 CET)\n <\/small>\n <\/p>\n\n
\n Early Music Day Recital - Historical Music from Bologna \n <\/h3>\n\n \n Thomas Charles Marshall\n <\/span>\n\n \n Ireland<\/strong>\n <\/span>\n\n \n
Early Music Day Recital - Francesco Giusti, Norah O\'Leary, and Thomas Charles Marshall perform music from Bologna written in the 17th and 18th Centuries.

<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Francesco Giusti - countertenor
Norah O\'Leary - cello
Thomas Charles Marshall - organ<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Concerto$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 21:00 CET\n <\/small>\n <\/p>\n\n
\n Concerto di Pasqua\n <\/h3>\n\n \n Centro di Musica Antica Ghislieri \n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
Giulio Prandi will propose, together with Coro Ghislieri and the Basso Continuo of the ensemble, a new program around the music of N. Jommelli and D. Perez. A musical match between the father of Neapolitan opera music of the XVIII century who became famous all over Europe, and the most rappresentative composer of sacred music of the same period who ended the carrer in a far european state, Portugal.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Alessandro Nasello, Yoan Otano - FAGOTTI
Maria Cecilia Farina - ORGANO

CORO GHISLIERI
DIRETTORE - Giulio Prandi<\/div>\n <\/div>\n\n
\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Medieval$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 19:00 CET\n <\/small>\n <\/p>\n\n
\n Medieval songs and snacks \n <\/h3>\n\n \n Ensemble Obsidienne - Festival de La Reverdie \n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n
\n
Aperitif concert to open the 6th edition of the Festival de La Reverdie - As part of the European Early Music Day, Obsidienne has concocted a number of songs for this event, accompanied by an aperitif dinner - medieval-inspired snacks cooked by the Mauvaises Herbes restaurant will be served to the audience.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Ensemble Obsidienne<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"The$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 05/03/2024 20:00 GMT (05/03/2024 21:00 CET)\n <\/small>\n <\/p>\n\n
\n The Gesualdo Six: 10th Anniversary Concert\n <\/h3>\n\n \n Cambridge Early Music\n <\/span>\n\n \n United Kingdom<\/strong>\n <\/span>\n\n \n
Step into the chapel where it all began and celebrate the 10th anniversary of one of the world’s most acclaimed vocal ensembles. This special concert will feature some of The Gesualdo Six’s all-time favourite repertoire, including highlights from the ensemble’s first performances in Cambridge. <\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
The Gesualdo Six<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n\n
Book Now<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n
\n $\"German$ \n <\/div>\n <\/div>\n\n
\n \n Online\n <\/span>\n\n
\n \n 18/05/2024 19:00 CEST\n <\/small>\n <\/p>\n\n
\n German Lute Music from the Renaissance\n <\/h3>\n\n \n Ronda Barcelona\n <\/span>\n\n \n Spain<\/strong>\n <\/span>\n\n \n
Video of the concert of 18th May 2023 with pieces from the German renaissance, a rather unknown repertoire that received influences from some other contemporary musical traditions, like the English, French or Flemish. With works by Neusidler, Denss and other composers. <\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Joaquim Bogunyà, lute<\/div>\n <\/div>\n\n
\n\n
Video<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"European$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 19:00 CET\n <\/small>\n <\/p>\n\n
\n European Early Music Day 2024\n <\/h3>\n\n \n Visby domkyrkoförsamling\n <\/span>\n\n \n Sweden<\/strong>\n <\/span>\n\n \n
Early music concert<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Participants: Ad Fontes, vocal ensemble; Bona Speranza, viola da gamba ensemble; Campus Gotland Chamber Choir, choirmaster Dan Eiderfors; Elke Unt, organ; Ineta Svärd, organ; Jan Ekedahl, guitar; Roma Baroque, vocals, organ, cello; and others.<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"WDR$ \n <\/div>\n <\/div>\n\n
\n \n Online\n <\/span>\n\n
\n \n 21/03/2024 20:04 CET\n <\/small>\n <\/p>\n\n
\n WDR 3 Konzert (broadcast)\n <\/h3>\n\n \n Westdeutscher Rundfunk Köln (WDR)\n <\/span>\n\n \n Germany<\/strong>\n <\/span>\n\n \n
This is the broadcast of concert in the series \"Forum Alte Musik Köln\" from February 25th: Rheinische Kantorei and Das Kleine Konzert with Leipzig cantatas by Johann Sebastian Bach from 1724 <\/div>
<\/div>
Johann Sebastian Bach\'s appointment to the Thomaskantorat in Leipzig in the spring of 1723 marked the beginning of a new phase in his artistic career, which initially entailed composing a church cantata almost every week. Even today, one can only marvel at the verve and inventiveness with which Bach set to work. Hermann Max and his ensembles Rheinische Kantorei and Das Kleine Konzert demonstrate this exactly 300 years later in a selection of cantatas from the Epiphany period in 1724. With this concert from the \"Forum Alte Musik Köln\" series, WDR 3 Konzert celebrates Early Music Day on Johann Sebastian Bach\'s birthday.
The following cantatas will be broadcasted:

<\/div>
Herr, wie du willt, so schick\'s mit mir, BWV 73
Jesus schläft, was soll ich hoffen, BWV 81
Nimm, was dein ist, und gehe hin, BWV 144
Leichtgesinnte Flattergeister, BWV 181 <\/div>

<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Veronika Winter (Sopran)
David Erler (Altus)
Georg Poplutz (Tenor)
Matthias Vieweg (Bass)
Rheinische Kantorei
Das Kleine Konzert
Hermann Max <\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Re-sound$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 19:00 CET\n <\/small>\n <\/p>\n\n
\n Re-sound love\n <\/h3>\n\n \n Eesti Kontsert / Floridante Ensemble \n <\/span>\n\n \n Estonia<\/strong>\n <\/span>\n\n \n
17th century and 21st century. Floridante ensemble and vocal consort, mezzosoprano Kadri Tegelmann, hip hop artist Genka and DJ Paul Oja. Two worlds that seem to have no points of contact, Early Music and hip hop, have chosen a theme that transcends time - love - as a common playing field. Love touches us all: young and old, men and women, parents and children, friends and lovers. Love for life.
One world, one theme, one stage.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Genka
DJ Paul Oja
Kadri Tegelmann, mezzosoprano
Floridante Ensemble
Floridante vocal consort<\/div>\n <\/div>\n\n
\n\n
Video<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Festa$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 18:00 CET\n <\/small>\n <\/p>\n\n
\n Festa della Musica Antica: Accade anche qui \n <\/h3>\n\n \n Diapason Consortium\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
A tribute concert to Early Music in Vigevano, a beautiful town close to Milan both geographically and historically. Here, during the Renaissance, the Sforza Court moved from Milan; moreover, important figures such as Ludovico il Moro, Leonardo da Vinci and Donato Bramante lived here. The venue for the concert is the splendid San Dionigi Auditorium - a deconsecrated Baroque church that represents the temple of music in Vigevano - located a few meters from the fabulous Piazza Ducale.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Maratona Musicale with \"Bottega dei Suoni\"<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n\n
Instagram<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Beethoven,$ \n <\/div>\n <\/div>\n\n
\n \n Online\n <\/span>\n\n
\n \n 21/03/2024 18:00 CET (21/03/2024 18:00 CET)\n <\/small>\n <\/p>\n\n
\n Beethoven, first Symphony\n <\/h3>\n\n \n Les Passions de l'Âme\n <\/span>\n\n \n Switzerland<\/strong>\n <\/span>\n\n \n
On December 1st 2022 Les Passions de l\'Âme launched its Beethoven cycle. Until 2028 we will perform all Beethoven symphonies in Bern and document them on video. The videos capture the lively interpretations, led by Meret Lüthi from the concertmaster\'s podium.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Les Passions de l\'Âme
Meret Lüthi, leader and violin<\/div>\n <\/div>\n\n
\n\n
Video<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Actus$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 20:00 CET\n <\/small>\n <\/p>\n\n
\n Actus tragicus\n <\/h3>\n\n \n Aube Musique Ancienne\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
Concert based on the cantata BWV 106 by JS BACH, with additional cantatas by D. BUXTEHUDE BuxWV 10 (Befiehl dem engel) and BuxWV 62 (Jesu, meines Lebens Leben and other motets).<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Musicians :
Vocal ensemble La Compagnie des Humbles
Stéphanie REVILLION, Emilie CUNIN, Sopranos
Julien FREYMUTH, counter-tenor
Jean-Luc BAUDOIN, tenor
Simon POUX, baritone
Stefano INTRIERI, organ
Flore SEUBE, Clara FELLMANN, violas da gamba
Hélène BURLE, Axel VEZY, recorders<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"What$ \n <\/div>\n <\/div>\n\n
\n \n Online\n <\/span>\n\n
\n \n 21/03/2024 15:00 CET (21/03/2024 15:00 CET)\n <\/small>\n <\/p>\n\n
\n What is Historical Performance? A casual conversation with flutists Teddie Hwang, Dr. Na'ama Lion, and Immanuel Davis\n <\/h3>\n\n \n Teddie Hwang Music and Photography\n <\/span>\n\n \n Germany<\/strong>\n <\/span>\n\n \n
On Early Music Day, join flutists Teddie Hwang, Dr. Na\'ama Lion, and Immanuel Davis in a casual conversation about what early music means to them. Hear their personal stories on how they got started on historical flutes, how they incorporate historical performance in their careers, and also their tips for those who are curious about period playing.

<\/div>
Whether you\'re hearing about early music for the first time or someone who\'s already familiar with the topic, this will be a fun hour to get to know historical flute-playing up close and personal!<\/div>

Tickets are free<\/strong>, registration through Eventbrite required. This talk will be held on Zoom and will not be recorded.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Teddie Hwang<\/a>, founder and host of \"Teddie Talks Traverso\"
Dr. Na\'ama Lion<\/a>, director of Chamber Music at Mather House Harvard University, faculty at Longy School of Music and University of North Texas<\/div>
Immanuel Davis<\/strong><\/a>, professor of Flute at University of Minnesota<\/div>\n <\/div>\n\n \n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Bach's$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 09:10 CET (21/03/2024 09:10 CET)\n <\/small>\n <\/p>\n\n
\n Bach's harpsichord concerts\n <\/h3>\n\n \n Amici della Musica di Padova\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
J.S. Bach: Brandenburg Concerto n. 5 BWV 1050, Concerto BWV 1053, Concerto BWV 1057
G.F. Händel: Trio Sonata op. 5 n. 4 HWV 399<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
AbChordis Ensemble, Baroque ensemble
Thomas Kügler, Traverso and Recorder
Cecilia Massenzana, Recorder
Rahel Wittling, Violin
Andrea Buccarella, Harpsichord and Conductor<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"European$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 24/03/2024 00:00 CET\n <\/small>\n <\/p>\n\n
\n European Early Music Day\n <\/h3>\n\n \n Nathalie Le Gaouyat - La Ruche Artistique\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
A festive day of encounters, discoveries and concerts<\/div>\n <\/div>\n\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Come$ \n <\/div>\n <\/div>\n\n
\n \n Online\n <\/span>\n\n
\n \n 21/03/2024 20:00 CET\n <\/small>\n <\/p>\n\n
\n Come to folklore!\n <\/h3>\n\n \n Tono Divino Ensemble\n <\/span>\n\n \n Netherlands<\/strong>\n <\/span>\n\n
\n
Tono Divino Ensemble <\/strong>stands as a distinguished baroque ensemble renowned for its spellbinding renditions of 18th-century music, with a predominant focus on the rich tapestry of Spanish and Latin American compositions. Specializing in the intricate and nuanced works of the Baroque period, Tono Divino Ensemble<\/strong> is committed to delivering authentic interpretations that showcase the brilliance of musical treasures from this era.
These pieces called Jardinerito del Huerto Cerrado <\/em>and Oh, admirable <\/em>are compositions by Juan Manuel Gaitán y Arteaga (1716-1804), a chapel master from Córdoba, Spain. This exquisite piece is a part of Gaitán y Arteaga\'s villancicos<\/em> and cantadas<\/em>, a choral form with instrumentalists and vocalists. The performance contains the folklore flavor of tondadilla de<\/em> escena<\/em>, a pre-flamenco genre that flourished in Spain during this epoch. Through this artistic journey, we breathe life into the composer\'s intricate melodies and convey the profound narratives embedded within his musical oeuvre.
Our mission is not merely to perform, but to transport our audience to the heart of the Spanish Baroque period. Through a meticulous dedication to authenticity and a profound understanding of the nuances of this era, we strive to evoke the essence of 18th-century music, allowing our listeners to immerse themselves in a captivating world where the past and present harmonize seamlessly.<\/div>\n <\/div>\n\n \n Musicians<\/span>\n
Jardinerito De Huerto Cerrado and Oh, admirable:<\/strong>

1-Jardinerito Del Huerto Cerrado:<\/em>

Singers:

Victoria Oftestad
Darta Liepina
Sara de los Campos Valdés
Beatriz Teixeira Chirife
Uma Torres Tarrés
Eduardo Proenca
Kai Sven

Conductor: Rodrigo Lluch Sicard
Violin 1: Alba Conejo Mangas, Fernando De Almeida and Sonia Huang
Violin 2: Tereza Smidova, Kira Dove and Ana Ares
Cello: Emma Zarzuela Castro
Violone: Ariel Walton
Harpsichord: Areli Cortés
Bassoon: Nitai Gomes Riello

2-Oh, Admirable:

<\/em>Singer: Victoria Oftestad and Sara de los Campos.

Conductor: Rodrigo Lluch Sicard
Violin 1: Alba Conejo Mangas, Fernando De Almeida, Sonia Huang
Violin 2: Tereza Smidova, Kira Dove, Ana Ares
Cello: Emma Zarzuela Castro
Violone: Ariel Walton
Harpsichord: Areli Cortés
Horns: Þórunn Eir Pétursdóttir and Sarah Brien.<\/div>\n <\/div>\n\n
\n\n
Video - Jardinerito del Huerto Cerrado<\/a><\/li>\n\n
Video - Oh, admirable dúo<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Soft$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 13/03/2024 19:00 CET\n <\/small>\n <\/p>\n\n
\n Soft maple wood\n <\/h3>\n\n \n 21eme année du cycle des concert de la musique ancienne "Barbara Maria WIlli présente..."\n <\/span>\n\n \n Czechia<\/strong>\n <\/span>\n\n \n
Programme: Giovanni Antonio Bertoli, Giuseppe Peranda, J. S. Bach, Christoph Schaffrath, G. F. Handel
Renaissance music lovers appreciated the deep, velvety tones of an instrument known as the dulcian. It is the direct predecessor of the historic bassoon, whose charm Wouter Verschuren, an outstanding performer and sought-after teacher at the Royal Conservatoires in The Hague and London, knows how to appreciate. Specialising in the interpretation and research of music from the sixteenth and seventeenth centuries, his main aim is to rediscover forgotten repertoire for his favourite instruments. His partner on stage and in life is the remarkable harpsichordist Kathryn Cok, a respected teacher at the Royal Conservatory in The Hague.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Wouter Verschuren / historical bassoon, dulcian
Kathryn Cok / harpsichord
Barbara Maria Willi / lecturer<\/div>\n <\/div>\n\n
\n\n
Facebook<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Early$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 22/03/2024 11:15 CET (22/03/2024 11:15 CET)\n <\/small>\n <\/p>\n\n
\n Early Music Day - L'Aquila 2024 \n <\/h3>\n\n \n Associazione Musicale Aquila Altera\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n
\n
Presentation event of the early music festival \"I Concerti di Euterpe\" <\/em><\/strong>and concert by violinists Sara MELONI<\/strong> and Gabriele PRO<\/strong> entitled: \"Due violini sotto falso nome\"<\/em><\/strong>. On the program will be the \"Six Duo Concertans pour deux violons Composés par L.Boccherini, oeuvre 37ª\" published in Paris Chez Mr. Barbieri, which are actually six duets for two violins composed by sardinian violinist Giuseppe Agus. The rediscovery of this important 18th century composer is due to Maestro Enrico di Felice, who accidentally came across Agus\' music in the early 1990s.<\/div>\n <\/div>\n\n \n Musicians<\/span>\n
Sara Meloni - Gabriele Pro, violins<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n\n
http://www.aquilaaltera.it/<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Concert$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 18/03/2024 20:00 CET\n <\/small>\n <\/p>\n\n
\n Concert Pass'musique\n <\/h3>\n\n \n Office Musical de Saint-Etienne\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
Concert at La Rivière Saint-Etienne church at 8pm with the ensembles Flore.Francescut, Terraconto choir and the early music ensemble JARDIN D\'ÉDEN Loire Forez.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Flore Francescut, Terraconto choir and the early music ensemble JARDIN D\'ÉDEN Loire Forez<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Leçons$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 28/03/2024 18:00 CET\n <\/small>\n <\/p>\n\n
\n Leçons de ténèbres | COUPERIN\n <\/h3>\n\n \n Paris Opéra Festival | EUROMUSIC\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n
\n
During the Ceremony of Darkness, the Lamentations of Jeremiah, recounting the ruin of Jerusalem destroyed by the Babylonians, were sung for the three Lessons of Holy Wednesday. Each letter of the Hebrew alphabet was then sung at the beginning of the Latin verses, to celebrate the acrostic nature of the original text.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Choir and Orchestra, Le<\/strong> Concert<\/strong> Spirituel<\/strong>
Hervé<\/strong> Niquet<\/strong>, conductor<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n\n
Instagram<\/a><\/li>\n\n
Facebook<\/a><\/li>\n\n
X<\/a><\/li>\n\n
LinkedIn<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Medieval$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 26/03/2024 14:00 CET\n <\/small>\n <\/p>\n\n
\n Medieval Karaoke\n <\/h3>\n\n \n La Camera delle Lacrime & Clermont Auvergne Opéra\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
Students from the Clermont-Ferrand area join our professional musicians on stage or in the audience to sing medieval songs.<\/div>\n <\/div>\n\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Early$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 18:00 CET\n <\/small>\n <\/p>\n\n
\n Early Music Day 2024\n <\/h3>\n\n \n Svenska Kyrkan: Höörs församling\n <\/span>\n\n \n Sweden<\/strong>\n <\/span>\n\n \n
Once again, Höör invites you to... :

OPEN SCENE

Höör Church, Thursday 21 March, 6.00-8.30pm.

Do you play Renaissance music? Do you sing Gregorian chant? Do your favourite poems date from the Baroque period? Do you collect 17th century hats? Is the viola da gamba your passion? Do you have anything else to share? Or do you just want to listen?

Young or old, amateur or professional - tonight, everyone is invited to perform and listen to each other!

Register your contribution at daniel.purtell@svenskakyrkan.se before 15 March. Write down what you want to say and the approximate number of minutes you want to devote to it.<\/div>\n <\/div>\n\n\n
\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"As$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 23/03/2024 20:30 CET\n <\/small>\n <\/p>\n\n
\n As the crow flies\n <\/h3>\n\n \n Association RIMAT\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n
\n
To mark European Early Music Day, we\'ll be heading to the pink granite coast, and turning our gaze towards the Sept-Îles reserve. La Chapelle Harmonique and reader-poet Allain Bougrain-Dubourg invite you to listen to the birds. They were an immense source of inspiration for baroque composers, and now Allain Bougrain-Dubourg, President of the LPO, is lending them his voice. This concert-reading will alternate texts and musical works and will be followed by a debate on the challenges of biodiversity.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Allain Bougrain-Dubourg, La Chapelle Harmonique (dir. Valentin Tournet)<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Carl$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 20:00 CET\n <\/small>\n <\/p>\n\n
\n Carl Theodor 300th Jubilee Concert on Solo Fortepiano\n <\/h3>\n\n \n Das Neue Mannheimer Orchester\n <\/span>\n\n \n Germany<\/strong>\n <\/span>\n\n \n
This concert celebrates the 300th jubilee of the Prince-Elector Carl Theodor (1724-2024), who cultivated a rich musical golden age in Mannheim during the 18th century. It celebrates music for solo fortepiano written by composers associated with Mannheim. It features the fortepianist Anders Muskens, founder & director of the ensemble Das Neue Mannheimer Orchester, performing on an original fortepiano by John Broadwood & Son built in London in 1794.

<\/div>
Christian Friedrich Daniel Schubart (1739 – 1791)
Sonata No. 1 in D major from “Etwas für Clavier und Gesang.“ (Published Winterthur, 1783) <\/div>
Allegro<\/li>
Andante cantabile<\/li>
Presto<\/li>
Tempo di menuetto<\/li><\/ol>
Georg Joseph Vogler (1749–1814)
Variations on the Swedish Song “Höns gummans visa” (Published Stockholm, 1798)

<\/div>
Georg Joseph Vogler (1749–1814)
Polonaise (Published Stockholm, 1798)

<\/div>
Wolfgang Amadeus Mozart (1756–1791)
Sonata No. 7 in C major, K. 309 (284b)
(Written in Mannheim and dedicated to Rose Cannabich, 1777)<\/div>
Allegro con spirito<\/li>
Andante un poco adagio<\/li>
Rondo (allegretto grazioso)<\/li><\/ol>
Georg Joseph Vogler (1749–1814)
Variations on the Finnish AIr “Ak minan rakas linduisen” (Published Stockholm, 1798)<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Anders Muskens is a Canadian early keyboard specialist, music scholar, and ensemble director, active as an international artist in North America and Europe. He began piano studies at the age of 4 in Edmonton, Alberta, Canada and completed an Associate Diploma (ARCT) in modern piano from the Royal Conservatory of Music, Toronto under the tutelage of Dr. Irina Konovalov. With support from the Edmonton Community Foundation and the Adriana Jacoba Fonds, he completed a Masters in Fortepiano at the Royal Conservatoire of The Hague under Dr. Bart van Oort and Petra Somlai, with Fabio Bonizzoni and Patrick Ayrton for harpsichord. He is currently a doctoral candidate in musicology at the Eberhard Karls University of Tübingen under the supervision of Prof. Dr. Matthew Gardner, Prof. Dr. Thomas Schipperges, and Dr. Jed Wentz, where he is researching the connection between rhetorical acting and music in the period 1740–1830. He has performed regularly at the Utrecht Early Music Festival, and has given performances at the Schwetzinger SWR Festspiele, Het Concertgebouw Amsterdam, the National Music Centre, the London International Festival of Early Music, the Salle Bourgie in Montreal, and many more. Muskens is the founder of the ensemble Das Neue Mannheimer Orchester: an international initiative to revive the music of the Mannheim School in the second half of the eighteenth century. He is represented artistically by the SONUS Agency for Early Music.<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n\n
Ensemble Website<\/a><\/li>\n\n
Soloist Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"LUX$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 24/03/2024 20:00 CET\n <\/small>\n <\/p>\n\n
\n LUX EX TENEBRIS\n <\/h3>\n\n \n Delirivm Musica\n <\/span>\n\n \n Spain<\/strong>\n <\/span>\n\n \n
Delirivm Musica offers us a monograph on Marc - Antoine Charpentier. A fascinating journey through five of his sacred compositions where light and shadow intervene representatively as an essential part of the music, the instrumentation, the interpretation and the text.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Dessus [violin] Beatriz Amezúa
Countertenor [violin] Marta Mayoral
Bass [Flute] Juan Portilla
Countertenor [Flute] Belén Nieto
Violin waist Calia Álvarez
Violin quintet María Barajas
Bassoon bass Marta Calvo
Violin bass Alberto Jara

Bass Belén Vaquero
Treble Lorea Agustí
Low register Paloma Friedhoff
[High counter Hugo Bolívar
[Bass Andrea Rey
[Height] Fran Braojos
[Tall] Ariel Hernández
[Low-cut] Manuel Quintana
[Bass] Simón Millán

Organ and basso continuo Jorge López-Escribano (organ and harpsichord) / Juan Carlos de Mulder (archlute)

Artistic Director Juan Portilla<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n\n
SMR Cuenca<\/a><\/li>\n\n
Youtube <\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Follie$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 11:30 CET (21/03/2024 11:30 CET)\n <\/small>\n <\/p>\n\n
\n Follie Barocche \n <\/h3>\n\n \n Liceo Musicale Statale "Margherita di Savoia" - Napoli \n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
\"Follie barocche is a musical journey on an anciet theme \"la Follia\", beautifully though for the european early music day. The music by J.S.Bach, A. Corelli, G.F.Haendel, A. Scarlatti, performed with our voices and on our musical instruments, recalls to original sounds and particular music languages, where past and present harmonize like in a cream to the original sounds.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Nocerino Francesco, Amato Angela, Caiazza Ida, Greco Elisa, Borrelli Claudio<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"339.$ \n <\/div>\n <\/div>\n\n
\n \n Online and On-site\n <\/span>\n\n
\n \n 21/03/2024 19:00 CET (21/03/2024 19:00 CET)\n <\/small>\n <\/p>\n\n
\n 339. Bach-Geburtstag\n <\/h3>\n\n \n Köthener BachGesellschaft mbH\n <\/span>\n\n \n Germany<\/strong>\n <\/span>\n\n \n
On 21 March, the Köthen Bach Festival traditionally celebrates Johann Sebastian Bach\'s birthday with a concert in the Church of St. Agnus.

This year\'s Bach birthday will once again be characterised by the upcoming Bach Festival: the Austrian gambist Romina Lischka, who already took part in the Bach Festival in 2016 and 2020, is expected to perform. She combines interpretations of early music with Indian druphad singing - unique. In addition, three young musicians will be guests who are preparing an audiovisual performance for the Bach Festival as part of the BachLAB taking place at the same time.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Lischka, Romina (Viola da gamba)
Uhde, Folkert (Moderation)<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n\n
YouTube<\/a><\/li>\n\n
Facebook<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"I$ \n <\/div>\n <\/div>\n\n
\n \n Online\n <\/span>\n\n
\n \n 21/03/2024 12:00 GMT (21/03/2024 13:00 CET)\n <\/small>\n <\/p>\n\n
\n I Zefirelli \n <\/h3>\n\n \n National Centre for Early Music \n <\/span>\n\n \n United Kingdom<\/strong>\n <\/span>\n\n \n
Greensleeves <\/strong>

A set of dances from ‘The English Dancing Master’ A short film celebrating I Zefirelli’s residency in York, July 2023, as part of the EEEmerging+ programme.<\/div>\n <\/div>\n\n\n \n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Versailles$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 17/03/2024 16:00 CET\n <\/small>\n <\/p>\n\n
\n Versailles Grand Bach Weekend - concert #7 "A Soli Bach Gloria"\n <\/h3>\n\n \n CRR de Versailles Grand Parc\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
Closing concert of the weekend. Programme: Motet Jesu meine Freude BWV 227, Fantasy and Fugue in G minor BWV 542 and Lutheran Mass in G minor BWV 235<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Soloists
DEM Vocal Ensemble
Baroque orchestra
Solo organ<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Visions$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 28/03/2024 21:30 CET\n <\/small>\n <\/p>\n\n
\n Visions of love\n <\/h3>\n\n \n Clermont Auvergne Opéra\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
Poetry by Giovanni Boccaccio with music by Guillaume de Machaut and Georg Friedrich Haendel. It all begins on a Tuesday morning in Florence, near Santa Maria Novella, where ten young people united by friendship meet to discuss love.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Bruno Bonhoure: musical writing, singing, psaltery
Khaï-Dong Luong: research, script writing
Clémence Montagne: singing,
Lucas Bedecarrax: singing
Dalai Daansuren: singing, morin khurr, lute, percussion
Inès Trientz: organetto
Valentin Bruchon: flutes, string drum, bagpipes<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Missa$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 19:00 CET\n <\/small>\n <\/p>\n\n
\n Missa ad placitum: Claudin de Sermisy at the Sainte-Chapelle\n <\/h3>\n\n \n Centre des monuments nationaux\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
At the beginning of the 16th century, the choir of the prestigious Sainte-Chapelle in Paris consisted of around twenty adult singers and, as was the ancient custom, six choirboys, trained by a master of music and a master of grammar. Polyphony was taught and a high level of excellence was required to compete with the princely chapels and choirs of European cathedrals. Among the many singers who succeeded one another at the Sainte-Chapelle du Palais were great musicians, some of whom left their mark on their era. These included Crispin de Stappen, Jean Conseil, Pierre Certon, and above all Claudin de Sermisy (c. 1490 - 1562), a cleric in 1508 and then canon of the Sainte-Chapelle from 1533, who also worked at the Chapelle Royale; his particularly prolific polyphonic works made him one of the most highly regarded composers of his time. He died of the plague in 1562, and was buried in the Lower Chapel. The Schola gave him a new voice, with one of his masses (Ad placitum) and several motets that blend in with the plainchant then in use at the Sainte-Chapelle.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
The Sainte-Chapelle Schola
<\/strong>Musical director and programme designer: Brigitte Lesne<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n\n
https://www.cmm-paris.fr<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Flutes$ \n <\/div>\n <\/div>\n\n
\n \n Online\n <\/span>\n\n
\n \n 21/03/2024 16:00 GMT (21/03/2024 17:00 CET)\n <\/small>\n <\/p>\n\n
\n Flutes & Frets\n <\/h3>\n\n \n National Centre for Early Music \n <\/span>\n\n \n United Kingdom<\/strong>\n <\/span>\n\n \n
Dancing Through Time<\/strong>

As two of the most expressive artforms, music and dance have been intimately linked since the beginning of
time. To highlight this special link, Flutes & Frets present ‘Dancing Through Time’. Performing works on flutes and fretted instruments, Flutes & Frets showcase how music for dance has transformed over time, taking the audience on a short journey through dance music from the renaissance through to the late baroque.<\/div>\n <\/div>\n\n\n \n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Atys\"$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 26/03/2024 19:30 CET\n <\/small>\n <\/p>\n\n
\n Atys\n <\/h3>\n\n \n Les Ambassadeurs ~ La Grande Ecurie | CMBV | Opéra d'Avignon | Atelier Lyrique de Tourcoing\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n
\n
On 21th March, we will celebrate Early Music Day with Atys by Lully. This big projet developped with CMBV aims at recreating the opera with the original cast (musicians, soloists, ballet). We will record it for Alpha between 19th and 22nd of March. Our last performance will be in Théâtre des Champs-Elysées on March 26th.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Alexis Kossenko<\/strong>, conductor

Mathias Vidal, <\/strong>Atys
Véronique Gens,<\/strong> Cybèle
Sandrine Piau | Déborah Cachet,<\/strong> Sangaride
Tassis Christoyannis,<\/strong> Célénus
Hasnaa Bennani,<\/strong> Doris
Virginie Thomas,<\/strong> Flore, Une divinité de fontaine
Éléonore Pancrazi,<\/strong> Melpomène, Mélisse
David Witczak,<\/strong> Le Temps, un Songe funeste, Le Fleuve Sangar
Adrien Fournaison,<\/strong> Idas, Phobétor
Antonin Rondepierre,<\/strong> Un Zéphyr, Morphée, un Grand Dieu de fleuve
Carlos Porto,<\/strong> Le Sommeil, un Grand Dieu de fleuve
Marine Lafdal-Franc,<\/strong> Iris, une Divinité de fontaine
François-Olivier Jean, <\/strong>Phantase
Marie Baron, <\/strong>Un Petit Dieu de ruisseau
Henri de Montalembert,<\/strong> Un Petit Dieu de ruisseau
Inès Coirier Duet,<\/strong> Un Petit Dieu de ruisseau
Edouard Dumon, <\/strong>Un Petit Dieu de ruisseau
Maryna Plumet,<\/strong> Une Divinité de fontaine
Madeleine Prunel, <\/strong>Une Divinité de fontaine

Victor Duclos<\/strong>, choreographer
Pierre Daubigny,<\/strong> lights

Les Ambassadeurs ~ La Grande Écurie<\/strong>
Les Pages et les Chantres du Centre de musique baroque de Versailles <\/strong>(Fabien Armengaud, artistic director)
Ballet de l\'Opéra Grand Avignon<\/strong> <\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Holy$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 21:30 GMT (21/03/2024 22:30 CET)\n <\/small>\n <\/p>\n\n
\n Holy Week Concert\n <\/h3>\n\n \n Alexandre Andrade\n <\/span>\n\n \n Portugal<\/strong>\n <\/span>\n\n \n
Early Music Day is celebrated worldwide on March 21st, and the Iberian Ensemble is once again associated with this event. For this Holy Week Concert, and from an associated musicological perspective, we focused the program on this period, marked by introspection and recollection, where music was always a haven and an element present in the celebrations. Music forms the link between Man and God, thus inspiring composers and instrumentalists to follow this path. Starting from historically informed interpretation and using period instruments or copies of these instruments, the Iberian Ensemble presents works by prominent composers of the French Baroque period, such as M. R. Lalande, J. B. Boismortier, and M. Blavet. Highlighting the work Leçons de Ténèbres, IIIème Leçon du Mercredi Saint by M. R. Lalande, covered with great harmonic density and tension. By the french composer J. B. Boismortier we have the work Les Printemps alluding to Spring, written for soprano and ensemble, showing a balance between Lalande\'s work, showing greater melodic and harmonic clarity, opposing the Leçons de Ténèbres. From Blavet we will be able to hear Sonata nº 1, op. 2 for flute and continuo, as well as the Trio Sonata no. 2, op. 37 by Boismortier. Thus, the vocal works of Lalande and Boismortier, as well as the instrumental works, form this contemplative program, sharing the themes of Love and Passion, celebrating Early Music Day.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Patrícia Pescadinha - sopran
Alexandre Andrade – baroque flute
Ivan Oliveira – theorbo and baroque guitar
David Cruz – baroque cello
Catarina Sousa - harpsichord<\/div>\n <\/div>\n\n
\n\n
Facebook<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"EARLY$ \n <\/div>\n <\/div>\n\n
\n \n Online and On-site\n <\/span>\n\n
\n \n 21/03/2024 18:00 CET\n <\/small>\n <\/p>\n\n
\n EARLY MUSIC DAY COPENHAGEN 2024\n <\/h3>\n\n \n Copenhagen Renaissance Music Festival\n <\/span>\n\n \n Denmark<\/strong>\n <\/span>\n\n
\n
Three intimate concerts with medieval and renaissance music, presented live in KoncertKirken and streamed live on Facebook and Youtube.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
18.00: Falsobordone (SE)<\/strong><\/div>
Anna Rynefors - song, rebec, bagpipe, percussion <\/div>
Erik Ask-Upmark - song, harp, portative, bagpipe, flutes, citole
Bestiarium - animals and creatures in images and music<\/em>
19.30: Musica Ficta & Bo Holten<\/strong> (DK)<\/div>
Machaut: Messe de Notre Dame
<\/em>21.00: Martin Vanberg, tenor & lute (SE)<\/strong><\/div>
Lute songs by Dowland a.o.<\/em><\/div>\n <\/div>\n\n
\n\n
Facebook<\/a><\/li>\n\n
Youtube<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Ministers$ \n <\/div>\n <\/div>\n\n
\n \n Online\n <\/span>\n\n
\n \n 21/03/2024 20:00 GMT (21/03/2024 21:00 CET)\n <\/small>\n <\/p>\n\n
\n Ministers of Pastime\n <\/h3>\n\n \n National Centre for Early Music \n <\/span>\n\n \n United Kingdom<\/strong>\n <\/span>\n\n \n
Phantastic Kapellmeisters The music of 17th century Vienna <\/strong>

There are moments and places in history in which, despite the prevalence of political, military, and religious conflicts, an artistic movement arises and the 17th century court of the Hapsburgs in Vienna saw such a flourishing of culture known as ‘stylus phantasticus’.

<\/div>Instrumental ensemble The Ministers of Pastime trace the history of this thrilling new style in the works of Schmelzer, Bertali and Valentini.

<\/div>\n <\/div>\n\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Sacred$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 24/03/2024 16:00 CET\n <\/small>\n <\/p>\n\n
\n Sacred Spanish polyphonies\n <\/h3>\n\n \n A VOUS SANS AUTRE\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
A capella concert devoted to sacred Spanish polyphony. These rigorous, noble polyphonies from the Golden Age seem to be striving for an ideal of musical perfection through sobriety and even pared-down simplicity. They get straight to the point and impose themselves on us. They stretch out time, captivating our ears and capturing our hearts!<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Vocal ensemble A VOUS SANS AUTRE<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"All$ \n <\/div>\n <\/div>\n\n
\n \n Online\n <\/span>\n\n
\n \n 21/03/2024 20:00 CET (21/03/2024 20:00 CET)\n <\/small>\n <\/p>\n\n
\n All the wild animals in the green forest - 100th concert in the TITANS RISING concert series\n <\/h3>\n\n \n TITANS RISING Verein für Alte Musik Berlin e.V.\n <\/span>\n\n \n Germany<\/strong>\n <\/span>\n\n \n
For Early Music Day 2024 we are broadcasting a livestream of our festive 100th concert from Nov. 12, 2023 with madrigals by J.H. Schein, dance music by Michael Praetorius, and other music by their contemporaries during the Thirty Years\' War. <\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
TITANS RISING Early Music Ensemble
Victoria Wilson & Jess Rucinski, soprano
Korneel Van Neste, alto
Stephan Gähler, tenor
Jakob Ahles, bass
Amanda Markwick, Renaissance traverso flute
Prisca Stalmarski, baroque violin
Mirjam-Luise Münzel, recorder & viola da gamba
Elisabeth Kaufhold, recorder & dulcian
Nathaniel Wood, sackbut
Jia Lim, organ & harpsichord
Magnus Andersson, theorbo
Michael Metzler, percussion <\/div>\n <\/div>\n\n
\n\n
Video<\/a><\/li>\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"O$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 21:00 CET (21/03/2024 21:00 CET)\n <\/small>\n <\/p>\n\n
\n O ZELO D'AMORE - La Passione di Cristo nelle opere modenesi di Bernardo Pasquini\n <\/h3>\n\n \n I Madrigalisti Estensi APS - Arcidiocesi di Modena-Nonantola\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
The concert celebrates the Early Music Day and the Holy Week with the Cantata Hor ch\'il ciel fra densi orrori<\/em> and some arias from the Oratorio La Sete di Christo <\/em>by Bernardo Pasquini, whose manuscripts are preserved at the Estense Library in Modena.<\/div>\n <\/div>\n\n \n Musicians<\/span>\n
I Madrigalisti Estensi
Alice Fraccari, soprano
Giacomo Pieracci, bass
Michele Gaddi, organ and conductor<\/div>\n <\/div>\n\n
\n\n
Instagram<\/a><\/li>\n\n
Facebook<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"The$ \n <\/div>\n <\/div>\n\n
\n \n Online\n <\/span>\n\n
\n \n 21/03/2024 15:00 CET\n <\/small>\n <\/p>\n\n
\n The Glass Bead Game of diversity\n <\/h3>\n\n \n (in)sight-reading enlightenment podcast\n <\/span>\n\n \n Switzerland<\/strong>\n <\/span>\n\n \n
Hello dear friends, this special Early Music Day podcast episode is dedicated to looking at some obscure and still unknown corners when we think of the terms \"diversity\" and \"awareness\" in the music business across the spectrum. We will talk to a great specialist, director of operations at Black Lives in Music, outlines how this organisation advocates for diversity in the classical music industry Roger Wilson.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Darina Ablogina, host
Roger Wilson, guest<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n\n
Facebook<\/a><\/li>\n\n
Instagram<\/a><\/li>\n\n
Apple podcasts<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Echoes$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 19:00 CET\n <\/small>\n <\/p>\n\n
\n Echoes of the English Renaissance\n <\/h3>\n\n \n Ensemble Jacques Moderne\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
To mark European Early Music Day, the Ensemble Jacques Moderne, with David Chevallier on theorbo and Anne Magouët on vocals, invites you to its first projection-concert. In the presence of Joël Suhubiette, discover on the big screen extracts from the film Hear the voice, shot in the magnificent Abbaye de Noirlac, in dialogue with live English melodies by Dowland, Purcell and many others.
The evening will continue with a drink with the artists.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Ensemble Jacques Moderne
Joël Suhubiette, Artistic Director of the Ensemble Jacques Moderne
David Chevallier, theorbo
Anne Magouët, vocals<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Baroque$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 20/02/2024 19:00 CET\n <\/small>\n <\/p>\n\n
\n Baroque Labyrinth\n <\/h3>\n\n \n Anousha\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
Concert Programme
\"Baroque Labyrinth: Handel meets Maraghi\"
John Dowland
- In darkness let me dwell
- Come heavy sleep
- Flow my tears
- Come again
- If my complaints could passions move
Georg Friedrich Haendel
- Ombra mai fu
- Atr Thou Troubled?
-Lascia ch\'io pianga
Henry Purcell
-Music for a While
- Dido\'s lament
Barbara Strozzi
-L\'Eraclito amoroso
- Amor dormiglione
Abd al Qadir Maraghi
- Râst
- Nahâvand e- Kabir

<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Artistes: Anousha Nazari (Mezzo soprano) & Antoine Morinière (Guitare)<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n\n
Video 1<\/a><\/li>\n\n
Video 2<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Amadigi$ \n <\/div>\n <\/div>\n\n
\n \n Online\n <\/span>\n\n
\n \n 19/03/2024 20:00 CET\n <\/small>\n <\/p>\n\n
\n Amadigi di Gaula - opera by G. F. Handel\n <\/h3>\n\n \n Luxuria Europae Association \n <\/span>\n\n \n Bulgaria<\/strong>\n <\/span>\n\n
\n
The Sofia Baroque Arts Festival realised the opera performance of Handel\'s Amadigi di Gaula. Partners were Sofia Opera and Ballet and the National Fund \"Culture\". This was the first in the history period instruments production at the stage of the Sofia Opera and the 2 performances, as well as one in adaptation for young audience have been very successful. The semi-staged performances included 3D mapping scenography, ballet.

<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Sofia Baroque Arts Festival Orchestra<\/strong> <\/div>
Zefira Valova<\/strong> leader <\/div>
Lucia Giraudo, Malina Mantcheva, Elena Ganova, Sofi Stambolieva, Gergana Deliyska<\/strong> violin <\/div>
Evgenia Bauer<\/strong> viola <\/div>
Ludovico Minasi, Thomas Chigioni <\/strong>cello <\/div>
Gabriela Tzvetanova<\/strong> double bass <\/div>
Aviad Gershoni, Konstantin Kozhuharov <\/strong>oboe <\/div>
Sabina Yordanova<\/strong> bassoon <\/div>
Antonio Faillaci <\/strong>trumpet <\/div>
Yavor Genov, Roberto Caravella <\/strong>lute <\/div>
Arianna Radaelli<\/strong> harpsichord <\/div>
Masha Ilieva<\/strong> ballet school <\/div>
<\/div>
Rafał Tomkiewicz<\/strong> Amadigi <\/div>
Rumyana Kostova <\/strong>Oriana <\/div>
Carlotta Colombo <\/strong>Melissa <\/div>
Margherita Maria <\/strong>Dardanus <\/div>
<\/div>
Tatyana Andonova<\/strong> choreographer <\/div>
Alisa Dzhoneva, Aleksandra Videnova, Bilyana Lozanova, Daria Lovrich, Elena Borea Kossenko, Niya Popova, Riana Milotinova<\/strong> Enchanted ladies and gentlemen <\/div>
<\/div>
Julia Krasteva <\/strong>stage director <\/div>
ElektricMe <\/strong>3D mapping <\/div>
<\/div>
October 2023 <\/strong><\/div>
Production<\/strong> Sofia Baroque Arts Festival <\/div>
Shooting place<\/strong> Sofia Opera and Ballet <\/div>
<\/div>
Special thanks to the National Fund “Culture”, Sofia Municipality, Istituto Italiano di Cultura Sofia, Polish Institute<\/strong><\/div>

<\/div>\n <\/div>\n\n
\n\n
Watch the concert<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"The$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 12:00 GMT (21/03/2024 13:00 CET)\n <\/small>\n <\/p>\n\n
\n The Early Music Shop's Informal Recital Series – Matthew Brown, harpsichord\n <\/h3>\n\n \n The Early Music Shop\n <\/span>\n\n \n United Kingdom<\/strong>\n <\/span>\n\n
\n
A free, informal recital to mark Early Music Day, followed by refreshments<\/em><\/strong><\/div>
Music by D’Anglebert (Troisième Suite in D minor) and J S Bach (Partita No. 1 in B flat major)
<\/em><\/strong>
<\/div>British harpsichordist, early organist, and director Matthew Brown<\/strong> is in demand as a continuo player, recitalist, repetiteur, vocal coach and conductor across London and beyond. A graduate of the University of Bristol and Guildhall School of Music and Drama, he has studied under various leading harpsichordists such as Carole Cerasi, James Johnstone, and Colin Booth, and gained high praise for his graduating recitals and research.

<\/div>
His concert, opera and chamber music work has seen him collaborate with groups such as the Academy of Ancient Music, Genesis Sixteen, Cambridge Handel Opera Company, Ryedale Festival Opera, Istante Collective, Victoria Baroque Players, and Southern Sinfonia, under a variety of conductors including David Hill, Eamonn Dougan, Julian Perkins and Simon Chalk, and at number of major venues and festivals, such as Milton Court, Barbican Centre, London International Festival of Early Music, Deal Festival, Ryedale Festival, and performances on the Cobbe Collection of Keyboard Instruments at Hatchlands Park. In opera, he has coached and prepared singers in collaboration with Chris Hopkins, Julian Perkins, and Eamonn Dougan, and acted as rehearsal accompanist and continuo player on a variety of productions. He also coaches singers in historical repertoire, and his clients have recently found success at early singing competitions across Europe.

<\/div>
He is the founder and Artistic Director of The Queenes Chappell, a historically informed solo-voice consort, who are looking forward to a busy 2024 with many concerts, festival appearances, and collaborations with other ensembles. As a solo harpsichordist, he was the First Prize winner at the 2023 Lewis Memorial Prize competition, and has appeared across the UK and in Canada as a recitalist on the harpsichord and the organ. He combines his busy performing career with his work as Organist and Director of Music at St Mary’s Stoke D’Abernon, where he presides over the baroque Frobenius organ and a flourishing music department.

<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Matthew Brown, harpsichord<\/div>\n <\/div>\n\n
\n\n
Full Informal Recital concert series listings <\/a><\/li>\n\n
The Early Music Shop website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Prospettive$ \n <\/div>\n <\/div>\n\n
\n \n Online and On-site\n <\/span>\n\n
\n \n 21/03/2024 14:30 CET\n <\/small>\n <\/p>\n\n
\n Prospettive di ricerca per la musica antica / Research Perspectives on Early Music\n <\/h3>\n\n \n Dipartimento di Musicologia e Beni Culturali, Università di Pavia, Campus di Cremona\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
Presentation of the research projects on Early Music developed in the Department of Musicology and Cultural Heritage (University of Pavia - Cremona Campus), from the Gregorian Chant and Renaissance Music to the Baroque Music.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Giovanni Varelli (associate Professor), Antonio Calvia (assistant professor), Michele Epifani (assistant professor), Luca Gatti (research fellow), Antonio Delfino (associate professor), Rodobaldo Tibaldi (associate professor), Francesco Saggio (research fellow), Angela Romagnoli (associate professor), Luca Benedetti (musicologist), Donatella Melini (research fellow), Massimiliano Guido (associate professor)<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"The$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 24/03/2024 17:00 CET (24/03/2024 17:00 CET)\n <\/small>\n <\/p>\n\n
\n The language of music: Dante, Petrarch, and the Italian lyrical tradition in the music of the Cinquecento\n <\/h3>\n\n \n Forlì Antiqua\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
Which language for the Renaissance? Petrarch and the charm of a euphonic language, or the passionate language of Dante Alighieri? Discover the singing tradition of Italian poetry in the Cinquecento between improvisation and print heritage, across Rome, Venice and San Gimignano.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Giovanni Cantarini, voice, lute, recitation
Giulia Ricci, harpsichord and organ<\/div>\n <\/div>\n\n
\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\""Viel$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 20/03/2024 19:00 CET\n <\/small>\n <\/p>\n\n
\n "Viel Fantasie"\n <\/h3>\n\n \n Hamburger Ratsmusik\n <\/span>\n\n \n Germany<\/strong>\n <\/span>\n\n
\n
The richness of Telemann\'s compositional ideas is inexhaustible. Unlike all his colleagues of his time, he never repeats himself, always reinventing himself. In his fantasies and sonatas on this concert evening, the transverse flute, viola da gamba, lute and harpsichord compete with each other. The Ratsmusiker have invited the American flautist, musicologist and Telemann prizewinner and expert Steven Zohn. With him in the trio, Telemann\'s music becomes a transatlantic adventure. <\/div>
Johann Sebastian Bach\'s birthday on 21 March marks the beginning of spring, as it does every year. Exactly one week earlier, on 14 March, is the 343rd anniversary of Telemann\'s birthday. What better way to celebrate this coincidence than with this concert in the Lichtwarksaal and the already institutional glass of champagne?! <\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Steven Zohn, flute & Hamburger Ratsmusik <\/div>
Simone Eckert, viola da gamba, Anke Dennert, harpsichord, Ulrich Wedemeier, lute <\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Stella$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 23/03/2024 15:00 CET\n <\/small>\n <\/p>\n\n
\n Stella Splendens - MONODIES & POLYPHONIES FROM THE MIDDLE AGES TO THE RENAISSANCE\n <\/h3>\n\n \n Ensemble Les Meslanges, Festival Les Musicales de Normandie\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
Let\'s celebrate the Early Music Day with Les Musicales de Normandie <\/em>and Les Meslanges <\/em>; our female vocal ensemble will perform music from the middle ages to the Renaissance.

<\/div>\n <\/div>\n\n \n Musicians<\/span>\n
Ensemble of women\'s voices from Les Musicales de Normandie festival
Les Meslanges Ensemble
Vincent Maurice, lute
Volny Hostiou, serpent
Thomas Van Essen, recorder & direction<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Leipziger$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 29/03/2024 15:00 CET\n <\/small>\n <\/p>\n\n
\n Leipziger Schätze des Barock\n <\/h3>\n\n \n Evangelische Kirchengemeinde Oberstenfeld \n <\/span>\n\n \n Germany<\/strong>\n <\/span>\n\n \n
Our current programme is dedicated to Leipzig\'s rich and extraordinarily creative music scene of the 17th century. Inspired by Heinrich Schütz, who studied with Giovanni Gabrieli in Venice from 1609 to 1612 and cultivated a special relationship with Italy throughout his life, a new style of composition developed, particularly among the St Thomas cantors of the time. The \"Madrigale Spirituale\" skilfully combined the original tonal language of sacred motets by German Baroque composers with the contrasting polyphony of the Italian madrigal style. We illustrate this dynamic development by juxtaposing works by the St Thomas cantors Johann Hermann Schein (1586-1630), Tobias Michael (1592-1657), Johann Schelle (1648-1701) and Johann Rosenmüller (1619-1684) as well as their contemporaries Melchior Frank (1580-1639) and Heinrich Schütz (1585-1672).<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
DeCantata Vokalensemble
Ute Gerteis (Sopran)
Hayley Huff (Mezzo-soprano)
Angela vom Hoff (Alto)
Andreas Gerteis (Tenor)
Daniel Kartmann (Bass)
Thomas Meyer (Leitung)<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 20:45 CET\n <\/small>\n <\/p>\n\n
\n Muestra de música barroca\n <\/h3>\n\n \n Conservatorio de Torrelavega\n <\/span>\n\n \n Spain<\/strong>\n <\/span>\n\n \n
Baroque music of different styles.
Works of François Couperin and Georg Philipp Telemann. Sample of bowed baroque instruments. <\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Teachers concert:
Manuel Márquez (Double bass)
Ines Moreno (viola)
Enrique Campos (violín)<\/div>\n <\/div>\n\n
\n\n
Día de la música antigua<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Follie$ \n <\/div>\n <\/div>\n\n
\n \n Online and On-site\n <\/span>\n\n
\n \n 21/03/2024 14:00 CET (21/03/2024 14:00 CET)\n <\/small>\n <\/p>\n\n
\n Follie Barocche\n <\/h3>\n\n \n Liceo Musicale Statale "Margherita di Savoia" - Napoli\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n
\n
\"Follie barocche<\/strong>\" is a musical journey on an anciet theme \"la Follia<\/em>\", beautifully though for the european early music day. The music by J.S.Bach, A. Corelli, G.F.Haendel, A. Scarlatti, performed with our voices and on our musical instruments, recalls to original sounds and particular music languages, where past and present harmonize like in a cream to the original sounds.<\/div>\n <\/div>\n\n \n Musicians<\/span>\n
Allievi:<\/strong> Castiello Sofia, Teleno Silvana, Tesone Barbara, Chukhrovska Yana, Notaro Giovanni, De Vito Gaia, Balena Alessandra, Negri Alessia, Varriale Alfredo, Perrotta Annarita, Tramontana Emilianna, Musto Mattia, Carannante Mattia, Scicchitano Miriam, Pacilio Ilaria, Pollice Aurora, Giordano Viviana, Dini Ciacci Luna, Botosineanu Elisa, Botosineanu Luis, Avino Giacomo, Nastych Anna, Feola Enrika, Capocotta Valerio, Capuano Liliana, Succoia Maria Teresa, Rocco Alessandro, Durazzano Francesco.
Docenti: Angela Amato (Violino), Ida Caiazza (Canto), Elisa Greco (Arpa), Francesco Nocerino (Pianoforte)
Valentina Crimaldi (Flauto), Gianni Iaccarino (Flauto), Vittorio Migliaccio (Fagotto), Francesco Oricchio (Corno)<\/strong><\/div>\n <\/div>\n\n
\n\n
Find out more ><\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"La$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 20:30 CET\n <\/small>\n <\/p>\n\n
\n La Principessa triste - La musica segreta di Amalia \n <\/h3>\n\n \n festival Wunderkammer - CARPE DIEM\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n
\n
The programme focuses on the figure of Anna Amalia Hohenzollern, princess of Prussia, a cultured woman and fine musician whose 300th death anniversary falls last year. Sister of Frederick the Great, her life was crushed by an oppressive father and brother who always kept her in a marginal role. The story of a woman caged in a society that wanted her submissive and who finds her freedom through art. Music by Telemann, Friedrich der Grosse.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Flutes&Frets duo: Beth Stone, flute<\/strong> - Daniel Murphy, lute<\/strong> <\/div>
Paola Erdas, narrator<\/strong> <\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Quante$ \n <\/div>\n <\/div>\n\n
\n \n Online and On-site\n <\/span>\n\n
\n \n 26/03/2024 11:00 CET (26/03/2024 11:00 CET)\n <\/small>\n <\/p>\n\n
\n Quante Follie in Europa!!!\n <\/h3>\n\n \n Liceo Musicale Statale "Margherita di Savoia" - Napoli\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n
\n
Workshop Musicale<\/strong>
Presentazione del tema musicale della Follia, <\/em><\/div>
a cura di <\/div>
Diana Facchini <\/strong>e Francesco Nocerino <\/strong><\/div>

Brani musicali di <\/div>
Haendel, Corelli, Scarlatti, Vivaldi e Bach <\/div>

<\/div>
<\/div>
<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Ensemble Barocco<\/strong> <\/div>
preparato dai Docenti: <\/div>
Angela Amato<\/strong> (violino<\/em>), Ida Caiazza<\/strong> (canto<\/em>), Elisa Greco <\/strong>(arpa<\/em>), Francesco Nocerino<\/strong> (pianoforte<\/em>), <\/div>
Valentina Crimaldi <\/strong>(flauto<\/em>), Gianni Iaccarino<\/strong> (flauto<\/em>), Vittorio Migliaccio<\/strong> (fagotto<\/em>), Francesco Oricchio<\/strong> (corno<\/em>) <\/div>\n <\/div>\n\n
\n\n
Online link (google meet)<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Bach$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 17:30 CET\n <\/small>\n <\/p>\n\n
\n Bach and friends\n <\/h3>\n\n \n Agamus ETS\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
The concert program includes the performance of the Concerto for Four Violins in G major (TWV 40:203) by G.P Telemann, the cello suite in D minor by J.S. Bach and the Concerto 4 in A major (TWV 40:204) by G.P. Telemann.<\/div>

<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Ottetto Telemann - 8 violins<\/strong><\/div>
Filippo Conrado, Giulia Gaietti, Giulia Elettra Genovese, Teresa Pironato, Giulia Salituro, Amanda Serra, Carla Adriana Tamietto ,Giada Zhou.

Baroque cello<\/strong>: Clara Ruberti<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n\n
Instagram<\/a><\/li>\n\n
Facebook<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Bach$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 24/03/2024 17:00 CET\n <\/small>\n <\/p>\n\n
\n Bach - Family Cantatas and Motets\n <\/h3>\n\n \n Stradivaria - Orchestre Baroque de Nantes\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
Stradivaria-Orchestre baroque de Nantes is inviting the exceptional soprano Rachel Redmond to this annual event as part of the Sacred Music programme at Nantes Cathedral.

Programme :
Johann Sebastian Bach - Cantata BWV 199, Mein Herze schwimmt im Blut
Johann Sebastian Bach - Suite for orchestra BWV 1067
Johann Bach - Motet Weint nicht um meinen Tod
Johann Christoph Bach - Motet Es ist nun aus
Johann Sebastian Bach - Cantata BWV 84, Ich bin vergnügt mit meinem Glücke<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Rachel Redmond - Soprano
Stradivaria - Nantes Baroque Orchestra
Nantes Cathedral Schola
Guillaume Cuiller - Musical director<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"LA$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 16/03/2024 15:30 CET (16/03/2024 15:30 CET)\n <\/small>\n <\/p>\n\n
\n LA WUNDERKAMMER MUSICALE. Visita Guidata alla Stanza delle Meraviglie ducali\n <\/h3>\n\n \n Grandezze & Meraviglie\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
Guided tour of the collection of Galleria Estense di Modena on the musical instruments, which were prominent at the Duke’s Cabinet of Wonders. For example the Arpa Estense from Concerto delle Dame di Ferrara at the end of the 16th century.<\/div>\n <\/div>\n\n\n
\n\n
YouTube<\/a><\/li>\n\n
Facebook<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"TOGETHER:$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 19:00 EET (21/03/2024 18:00 CET)\n <\/small>\n <\/p>\n\n
\n TOGETHER: J.S. Bach birthday\n <\/h3>\n\n \n Open Opera Ukraine\n <\/span>\n\n \n Ukraine<\/strong>\n <\/span>\n\n \n
As part of the worldwide movement, the Partes<\/strong> Ensemble and the Baroque Amateur Choir B.A.CH.<\/strong> together with our partner, the National House of Music, have prepared a special program for the Early Music Day 2024.
You will hear German and Ukrainian baroque music. Such a combination may seem unusual. Connections are not always drawn between these musical traditions. Still, they are present and important for understanding the common ideas that lived in the European space of the 17th and 18th centuries.
Join us in celebration of #earlymusicday !<\/div>\n <\/div>\n\n \n Musicians<\/span>\n
Partes Ensemble
Ensemble of the Baroque Amateur Choir B.A.CH.<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"F.$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 19:00 EET (21/03/2024 18:00 CET)\n <\/small>\n <\/p>\n\n
\n F. Cavalli's opera La Calisto\n <\/h3>\n\n \n Estonian Academy of Music and Theater\n <\/span>\n\n \n Estonia<\/strong>\n <\/span>\n\n \n
The opera is perfrmed by the students of Estonian Academy of Music and Theater and Tallinn College of Music and Ballet<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Director LIIS KOLLE
Music director ANDREW LAWRENCE-KING

Lighting designer PRIIDU ADLAS
Costume designer KALLE AASAMÄE
Movement director ANU RUUSMAA
Pianists-repetitors ENE RINDESALU and ANU WAGNER
Make-up artists Makeup school students and their supervisors

<\/div>
Singing students of the Estonian Academy of Music and Theater and a baroque orchestra are on stage <\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Il$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 20:30 CET (21/03/2024 20:30 CET)\n <\/small>\n <\/p>\n\n
\n Il Suono della Luce - il viaggio musicale nella Commedia\n <\/h3>\n\n \n almamusica433 and kalicantus ensemble\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
The vocal concert retraces the journey of Dante Alighieri told in the Comedy through the stories and musical pages of the composers he met and the sound suggestions recounted. Between words and music, a journey within a journey.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Kalicantus Ensemble<\/div>\n <\/div>\n\n
\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"'A$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 19:30 GMT (21/03/2024 20:30 CET)\n <\/small>\n <\/p>\n\n
\n 'A Divine Hope' - Dante's journey from Inferno to Paradise\n <\/h3>\n\n \n Stile Antico\n <\/span>\n\n \n United Kingdom<\/strong>\n <\/span>\n\n
\n
Dante Alighieri’s Commedia <\/em>(‘The Divine Comedy’) is considered one of the greatest works of literature ever written. Its imagery has shaped Western understanding of the afterlife for more than seven centuries, and inspired an immense body of scholarship, philosophy, art, and music.

<\/div>
Telling Dante’s story, Stile Antico descends with Il Divino into Hell, journeys with him through Purgatory, and finally arrives at the gates of Heaven. Renaissance madrigals and sacred music by composers such as Palestrina, Guerrero and Morales illustrate the way, setting to music prayers which the poet features in his epic verse. Texts by Dante himself, set to music by Luzzaschi and Merulo, also narrate the story. These are punctuated by readings from the Divine Comedy. At the pinnacle of heaven we meet the Virgin Mary in Victoria’s glorious 12-part Magnificat.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Stile Antico<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"G.Ph.$ \n <\/div>\n <\/div>\n\n
\n \n Online and On-site\n <\/span>\n\n
\n \n 21/03/2014 16:30 CET (21/03/2014 16:30 CET)\n <\/small>\n <\/p>\n\n
\n G.Ph. Telemann, concerto strumentale, Monteverdi e il Combattimento di Tancredi e Clorinda\n <\/h3>\n\n \n Conservatorio Alfredo Casella (L'Aquila)\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
PART I
Alfredo Casella\' Conservatory of Music - L\'Aquila
Ensemble music workshop for ancient instruments by Prof. Maria de Martini
Mandolin Ensemble by Prof. Fabio Giudice

Georg Philipp Telemann (1681-1767)
Sonata in C Major TWV 41:C2
Cantabile, Allegro, Grave, Vivace

Triosonata in A minor TWV 42:a4
Largo, Vivace, Affettuoso, Allegro

Concerto in D Major TWV 40:202
Adagio, Allegro, Grave, Allegro (transcription for four mandolins)

Quartet in D minor TWV 43:D3
Andante, Vivace, Largo, Allegro

PART II

Project 1624-2024: 4 CENTURIES OF COMBAT.
Claudio Monteverdi and the Combattimento di Tancredi e Clorinda on the 4th centenary of the first performance
Coordination Prof. Massimo Salcito

Claudio Monteverdi (1567-1643)
Aria for several voices \"Sì dolce \'l tormento\" by Claudio Monteverdi, SV 332
\"Combattimento di Tancredi e Clorinda\" by Claudio Monteverdi, SV 153
Canzonetta for several voices \"Fugge \'l verno dei dolori\" 232

Translated with DeepL.com (free version)<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Performers: (lab. Ancient Instruments Conservatorio A. Casella (Prof: De Martini-Giudice)
- Nina Taddei, Recorder
- Maria de Martini, Recorder
- Sayaka di Matteo, Baroque Violin
- Antonio Lattanzi, Transverse Flute
- Giordano D\'Alfonso, Harpsichord
- Alberto Lattanzi, Viola da Gamba
- Felice Zaccheo, Viola da Gamba
- Fabio Giudice, Mandolin
- Stefano Pogelli, Mandolin
- Fabio Refrigeri, Mandolin
-Marco Battistelli, Mandolin

Ensemble \'Alceo Toni
- Azzurra Di Marco
- Arianna Giuliani
- Vincenzo Ciccarelli
- Wei Keke
- Massimo Salcito, Harpsichord<\/div>\n <\/div>\n\n
\n\n
Conservatorio A. Casella de L'Aquila<\/a><\/li>\n\n
Video<\/a><\/li>\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n
\n $\"La$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 14:30 CET\n <\/small>\n <\/p>\n\n
\n La Bande de violons du Louis XIV\n <\/h3>\n\n \n Civica Scuola di Musica Claudio Abbado - Fondazione Milano\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
Open rehearsals of the Baroque Orchestra of the Civica Scuola di Musica Claudio Abbado under the guidance of Susanne Scholz on an Erasmus exchange from the Instituts für Alte Musik und Aufführungspraxis of the Kunstuniversität of Graz (Austria). The concert related to Susanne Scholz\'s project will be held on Saturday 23 March at 4.00 pm at the Sala della Balla of the Castello Sforzesco in Milan.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Susanne Scholz, conductor and violin<\/em>
Angelo Basile, Neyén Finot Copa, Martín Moya Fernandez, Lucilla Tempella, violins<\/em><\/div>
Hagar Girsai, Alejandra Segovia Masià, Olesia Romaniv, violas<\/em><\/div>
Massimo Campagna, Chiara Cardelli, cellos<\/em>
Rita Perego, Rosario Scafili, Matteo Taverniti, recorders<\/em>
Eleonora Casolari, traverso<\/em>
Emanuele Gorla, theorbo
Ninon Dusollier, basson<\/em>
Sebastiano Cristaldi, Nicola Gandolfo, harpsichords<\/em><\/div>
Teodora Tommasi, harp<\/em>
Hyun Ji, soprano<\/em><\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Giovanni$ \n <\/div>\n <\/div>\n\n
\n \n Online\n <\/span>\n\n
\n \n 21/03/2024 20:30 CET (21/03/2024 20:30 CET)\n <\/small>\n <\/p>\n\n
\n Giovanni Legrenzi (1626-1690), «Vespro di San Callisto», from «Salmi a cinque. Tre voci e due violini», opus V (Venezia, 1657)\n <\/h3>\n\n \n MUSICA MIRABILIS. International Musical Festival Giovanni Legrenzi - Municipality of Clusone (Bergamo)\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
The Salmi a cinque, tre voci e due violini<\/em>, fifth work, by Giovanni Legrenzi, are a collection of thirteen pieces: twelve psalms and the Magnificat<\/em>, published in Venice in 1657. From this collection a Vespers for the feast of St. Callisto<\/em> was created.. These psalms follow the model of the church cantata, with multiple sections, consisting of the succession of individual parts, contrasting with each other in style, metric signature and agogic prescription; each combined with a verse of the psalm following changing formal patterns.<\/div>\n <\/div>\n\n \n Musicians<\/span>\n
Collegium vocale et instrumentale \'Nova Ars Cantandi\'. Alessandro Carmignani, singing; Enrico Torre, alto; Gianluca Ferrarini, tenor; Marcello Vargetto, bass; Luca Giardini, violin; Gian Andrea Guerra, violin; Marco Frezzato, cello; Mauro Pinciaroli, theorbo and guitar; Ivana Valotti, organ; Giovanni Acciai, conductor.<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Lecture:$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 23/03/2024 17:30 EET (23/03/2024 16:30 CET)\n <\/small>\n <\/p>\n\n
\n Lecture: Once ancient, now young again - early music in Lithuania \n <\/h3>\n\n \n National Museum - Palace of the Grand Dukes of Lithuania\n <\/span>\n\n \n Lithuania<\/strong>\n <\/span>\n\n \n
The lecture will provide an overview of the early music movement in Lithuania from its beginnings in the 1970s to the present day. <\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Dr Aleksandra Pister<\/div>\n <\/div>\n\n
\n\n
Find out more ><\/a><\/li>\n\n
Find out more ><\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Guided$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 14:00 CET\n <\/small>\n <\/p>\n\n
\n Guided tour of Olivier Calmeille's violin and bow making workshop\n <\/h3>\n\n \n Atelier Scordatura\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
The Atelier Scordatura is based in Montpellier in an exceptional setting: the Hôtel Faulquier, a 19th-century town house just a stone\'s throw from the Gare Saint-Roch railway station.
The Atelier Scordatura was born out of a meeting between two luthiers: Frédéric Becker, a luthier and bow maker specialising in classical instruments, who worked at the Hôtel Faulquier for almost forty years, and Olivier Calmeille, now the owner, a Montpellier luthier for fifteen years specialising in historic instruments and period fittings.
The Atelier Scordatura invites you to take a trip back in time and discover the wealth of classical and historical violin making, from restoration to the manufacture of bowed stringed instruments (from violins to double basses and violas da gamba).

Admission free, with registration by email at atelier@scordatura.fr<\/a><\/div>\n <\/div>\n\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Antonio$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 21:00 CET\n <\/small>\n <\/p>\n\n
\n Antonio Caldara (1670-1736), “Maddalena ai Piedi di Cristo”\n <\/h3>\n\n \n ACCADEMIA DEL RICERCARE\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
The period instruments orchestra \"Accademia del Ricercare\", lead by Luigi Pagliarini, will perform Antonio Caldara\'s Oratorio \"La Maddalena ai piedi di Cristo\" in the splendid setting of the church of Sant\'Agnese in Vercelli. \"Maddalena ai piedi di Cristo\" was written in Venice probably between 1697 and 1698. Lodovici Forni\'s tight, cohesive libretto (also used by Bononcini in 1690) is based on Luke 7:36-50, with the addition of Martha from John 11:1-2 and 12:1-4. <\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Arianna Stornello, Maddalena
Chiara Pontoriero, Marta
Sara Lacitignola, Amor Celeste
Rossella Giacchero, Amor Terreno
Stefano Gambarino, Christ
Mario Tahtouh, Pharisee
Yayoi Masuda, Efix Puleo, Francesco Bergamini, Artem Dzeganovskyi, violins
Elena Saccomandi, Alessandro Curtoni, violas
Daniele Bovo, cello
Gualtiero Marangoni, violone
Laura La Vecchia, theorbo
Claudia Ferrero, harpsichord

Luigi Pagliarini, conductor <\/div>\n <\/div>\n\n
\n\n
Youtube page<\/a><\/li>\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"300$ \n <\/div>\n <\/div>\n\n
\n \n Online and On-site\n <\/span>\n\n
\n \n 21/03/2024 19:30 CET (21/03/2024 19:30 CET)\n <\/small>\n <\/p>\n\n
\n 300 years of Spanish harpsichord music\n <\/h3>\n\n \n Música Antigua Xixón\n <\/span>\n\n \n Spain<\/strong>\n <\/span>\n\n \n
The repertoire of this concert features Spanish music composed between XVI and XIX centuries, from Antonio de Cabezón to Mateo Antonio Pérez de Albéniz. The purpose of the concert is to show the evolution around harpsichord music in Spain by the hand of the awarded young performer, Inés Moreno, who has recently released the album 300 years of Spanish harpsichord music<\/em>. <\/div>\n <\/div>\n\n \n Musicians<\/span>\n
Inés Moreno Uncilla, harpsichord<\/div>\n <\/div>\n\n
\n\n
Watch the concert<\/a><\/li>\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Open$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 22/03/2024 13:00 CET\n <\/small>\n <\/p>\n\n
\n Open rehearsals as part of the Sacred Music Festival - Ensemble Caravansérail\n <\/h3>\n\n \n Festival de musique sacrée de Perpignan\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
Title: Stabat mater for 10 voices by Domenico Scarlatti
Italian baroque music

Cast :
Ensemble Caravansérail
Bertrand Cuiller, conductor
Cécile Achille, Hasnaa Bennani, Rachel Redmond, Anaïs Bertrand, sopranos
Paul Figuier, Leandro Marziotte, altos
Olivier Coiffet, Tarik Bousselma, tenors
Étienne Bazola, Nicolas Certenais, basses
Bérengère Sardin, harp
Bruno Cocset, cello
Benoît Vanden Bemden, double bass
Jean-Luc Ho, organ

Programme:
Following its unprecedented public success in 2023, the Perpignan Festival of Sacred Music is continuing its journey with all the energy that drives it, to roll out, from 15 to 28 March in 2024, a programme illuminated by artistic beauty and the quintessence of the unspeakable.

As part of their concert on Friday 22 March, the orchestra\'s musicians will be previewing their work at free open rehearsals. A chance to go behind the scenes of the festival!

For its first appearance at the festival, the Caravansérail ensemble, led by its conductor Bertrand Cuiller, one of the most gifted harpsichordists of his generation, will present a programme dedicated to the virtuoso composer Domenico Scarlatti. Famous for having composed a magnificent corpus of 555 sonatas for harpsichord, he also bequeathed to posterity 21 sacred pieces. His Stabat mater, thought to have been composed for the Vatican\'s Capella Giulia, is certainly the most original and accomplished of his sacred vocal works. In creating this free and innovative piece, he freed himself from the principle of writing for a double choir, playing instead with the richness of a vocal fabric of ten real voices. More classical in tone but no less exciting and lively, the Te Deum is in the Italian tradition of the double choir, while the Missa Quatuor Vocum (known as the \'Madrid Mass\') is marked by elegance and sobriety.

Admission subject to availability, with registration at lucie.zourray@lesmusesendialogue.com<\/a><\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
The adventure of the Caravansérail ensemble began in 2015. While in residence at Royaumont as harpsichordist, Bertrand Cuiller decided to embark on a great adventure: to create an ensemble that would be an extension of his activity as soloist and continuo player, and a new field for experimentation. Part chamber music group, part opera orchestra, Caravansérail tackles all the repertoires of the seventeenth and eighteenth centuries, including encounters with contemporary and new music.
The ensemble performs in France at the Théâtre de Caen, the Midsummer Festival in Hardelot, La Folle Journée in Nantes, the Festival de La Chaise-Dieu, the Abbey of Royaumont, the Château de Versailles, the Festival de Pontoise, the Théâtre de Cornouaille, the Théâtre de Besançon and the Théâtre Impérial in Compiègne; and in Europe at the Concertgebouw in Bruges, the Tage Alter Musik in Regensburg, the La Folia festival in Rougemont and Bozar - Brussels in particular.
In 2018, Caravansérail was chosen by co[opéra]tive for a major tour of Georg Friedrich Haendel\'s Rinaldo, directed by Claire Dancoisne.
In 2016, Bertrand Cuiller and Caravansérail recorded A Fancy, Fantasy On English Airs & Tunes for Harmonia mundi. The album was hailed by the critics and received 4F from Télérama and 4 stars from Classica.
The second album, Domenico Scarlatti, Stabat Mater and Other Works, was released in 2022.
Keen to pass on a rich cultural heritage to younger generations, Le Caravansérail has been running an immersive artistic and cultural education project since 2019 in partnership with the City of Montereau and the Drac Île-de-France.
Le Caravansérail is supported by the French Ministry of Culture, the Centre national de la musique and SPEDIDAM.<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Guided$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 23/03/2024 14:00 CET\n <\/small>\n <\/p>\n\n
\n Guided tour of the harpsichord workshop\n <\/h3>\n\n \n Atelier « Clavecins Martine Argellies » \n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
Guided tour of the harpsichord workshop, which has been awarded the \"Entreprise du patrimoine vivant\" (Living Heritage Company) label, where instruments from various schools of harpsichord making are on display, each with a different sound.

Programme:
Martine Argellies has been making harpsichords since 1981. Her workshop, based in Montpellier, is one of the last remaining specialist harpsichord makers in France.

Her interest in the Baroque musical repertoire, of which the pedalless, plucked-string harpsichord is one of the emblems, and her attraction to craftsmanship have guided her professional choices. When she left her teens, she joined a friend who owned a piano shop. She then studied with a cabinetmaker, before spending a decade training on her own. With the two people around her now, she makes a dozen instruments a year, a quarter of which are exported.

Go to the website of the \"Clavecins Martine Argellies\" workshop

Free admission, registration by email argellies@free.fr<\/a> - Tramway: line 3 stop Saint-Denis, line 4 stop Saint-Guilhem<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Martine Argellies has been making harpsichords since 1981. Her workshop, based in Montpellier, is one of the last remaining specialist harpsichord makers in France.<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Musical$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 22/03/2024 11:00 CET\n <\/small>\n <\/p>\n\n
\n Musical tours of the Musée Fabre collections (Montpellier) - Armance Merle and Juliette Guichard\n <\/h3>\n\n \n Les Muses en dialogue\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
Title: Music and painting - Mirrors of our emotions

Cast :
Armance Merle, recorders and baroque traverso
Juliette Guichard, viola da gamba

Programme :
As part of the European Early Music Days, the Musée Fabre is opening its doors to Armance Merle and Juliette Guichard. On a guided musical and pictorial tour, music and paintings reveal their secrets.

The flute and viola da gamba will resonate in this majestic setting during an original guided tour, revealing each work through the prism of emotions.

A musical tour of the Musée Fabre\'s permanent collections lasting around 1 hour.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Juliette Guichard first encountered the viola da gamba at the age of 7. Fascinated by the sonorities it offers and the wide range of repertoires to which it is devoted, she decided, after ten years of study at the CRR in Angers alongside Eleanor Lewis-Cloué, to make it her great travelling companion. She is currently studying for a master\'s degree at the CNSMD Lyon with Myriam Rignol and at the Schola Cantorum Basiliensis with Paolo Pandolfo, and enjoys exploring a wide range of musical worlds, from medieval repertoires (trio Ecco la Primavera) to contemporary creation (collectif Synérèse), (Synérèse collective), Latin American baroque (Transatlantique ensemble), French baroque (Les Étourdi-es ensemble) and music from the Mediterranean basin (Matica de Flor ensemble). She now performs on numerous stages in France and Switzerland, and continues to train with renowned violists and conductors such as Marianne Müller, Lucile Boulanger, Sébastien Daucé and Vincent Dumestre. An enthusiastic musician, she has developed a multi-faceted and colourful style of playing in which timbres and styles meet.

Armance Merle studied the recorder and traverso at the Meaux Conservatoire, alongside a degree in theatre. She went on to study the recorder at the CNSMD Lyon with Pierre Hamon, Sébastien Marq and Tiago Simas Freire, and the traverso at the CRR Lyon in 2020 with Serge Saïtta and Jean Brégnac. She then explored the possible horizons of these instruments. As part of the Synérèse collective, she created the multidisciplinary show Somnescence, linking music and dance, and joined the Transatlantique ensemble to explore early Latin American repertoire, as well as the ensembles Les Étourdi-es and La Nébuleuse to explore French baroque music. In 2023, she also recorded Télémaque and Calypso with the ensemble Les Ombres. She then joined the Consort de Passage to perform Renaissance and contemporary repertoire, and Ecco la Primavera, which brings medieval music to life through a chivalric tale. In 2022, her desire to explore new avenues also led her to begin work on the show Plantons-nous as part of the Les Grimpantes collective, which continues to develop this desire for multidisciplinarity.<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Concert$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 22/03/2024 21:00 CET\n <\/small>\n <\/p>\n\n
\n Concert as part of the Sacred Music Festival - Ensemble Caravansérail\n <\/h3>\n\n \n Festival de musique sacrée de Perpignan\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
Title: Stabat mater for 10 voices by Domenico Scarlatti
Italian baroque music

Cast :
Ensemble Caravansérail
Bertrand Cuiller, conductor
Cécile Achille, Hasnaa Bennani, Rachel Redmond, Anaïs Bertrand, sopranos
Paul Figuier, Leandro Marziotte, altos
Olivier Coiffet, Tarik Bousselma, tenors
Étienne Bazola, Nicolas Certenais, basses
Bérengère Sardin, harp
Bruno Cocset, cello
Benoît Vanden Bemden, double bass
Jean-Luc Ho, organ

Programme:
Following its unprecedented public success in 2023, the Perpignan Festival of Sacred Music is continuing its journey with all the energy that drives it, to roll out, from 15 to 28 March in 2024, a programme illuminated by artistic beauty and the quintessence of the unspeakable.

As part of their concert on Friday 22 March, the orchestra\'s musicians will be previewing their work at free open rehearsals. A chance to go behind the scenes of the festival!

For its first appearance at the festival, the Caravansérail ensemble, led by its conductor Bertrand Cuiller, one of the most gifted harpsichordists of his generation, will present a programme dedicated to the virtuoso composer Domenico Scarlatti. Famous for having composed a magnificent corpus of 555 sonatas for harpsichord, he also bequeathed to posterity 21 sacred pieces. His Stabat mater, thought to have been composed for the Vatican\'s Capella Giulia, is certainly the most original and accomplished of his sacred vocal works. In creating this pieceFor its first appearance at the festival, the Caravansérail ensemble, led by its conductor Bertrand Cuiller, one of the most gifted harpsichordists of his generation, will present a programme dedicated to the virtuoso composer Domenico Scarlatti. Famous for having composed a magnificent corpus of 555 sonatas for harpsichord, he also bequeathed to posterity 21 sacred pieces. His Stabat mater, thought to have been composed for the Vatican\'s Capella Giulia, is certainly the most original and accomplished of his sacred vocal works. In creating this free and innovative piece, he freed himself from the principle of writing for a double choir, playing instead with the richness of a vocal fabric of ten real voices. More classical in tone but no less exciting and lively, the Te Deum is in the Italian tradition of the double choir, while the Missa Quatuor Vocum (known as the \'Madrid Mass\') is marked by elegance and sobriety.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
The adventure of the Caravansérail ensemble began in 2015. While in residence at Royaumont as harpsichordist, Bertrand Cuiller decided to embark on a great adventure: to create an ensemble that would be an extension of his activity as soloist and continuo player, and a new field for experimentation. Part chamber music group, part opera orchestra, Caravansérail tackles all the repertoires of the seventeenth and eighteenth centuries, including encounters with contemporary and new music.
The ensemble performs in France at the Théâtre de Caen, the Midsummer Festival in Hardelot, La Folle Journée in Nantes, the Festival de La Chaise-Dieu, the Abbey of Royaumont, the Château de Versailles, the Festival de Pontoise, the Théâtre de Cornouaille, the Théâtre de Besançon and the Théâtre Impérial in Compiègne; and in Europe at the Concertgebouw in Bruges, the Tage Alter Musik in Regensburg, the La Folia festival in Rougemont and Bozar - Brussels in particular.
In 2018, Caravansérail was chosen by co[opéra]tive for a major tour of Georg Friedrich Haendel\'s Rinaldo, directed by Claire Dancoisne.
In 2016, Bertrand Cuiller and Caravansérail recorded A Fancy, Fantasy On English Airs & Tunes for Harmonia mundi. The album was hailed by the critics and received 4F from Télérama and 4 stars from Classica.
The second album, Domenico Scarlatti, Stabat Mater and Other Works, was released in 2022.
Keen to pass on a rich cultural heritage to younger generations, Le Caravansérail has been running an immersive artistic and cultural education project since 2019 in partnership with the City of Montereau and the Drac Île-de-France.
Le Caravansérail is supported by the French Ministry of Culture, the Centre national de la musique and SPEDIDAM.<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Family$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 23/03/2024 15:00 CET\n <\/small>\n <\/p>\n\n
\n Family workshops with Anaïs Ramage\n <\/h3>\n\n \n Les Muses en dialogue\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
Title : Family workshops with flutist Anaïs Ramage

Programme :
Passionate about early repertoire, Anaïs Ramage brilliantly obtained her recorder and early bassoon diplomas at the Schola Cantorum in Basel and the CNSM in Lyon. She is regularly contacted by prestigious ensembles such as Les Arts florissants, Le Concert Spirituel, Les Surprises, Vox Luminis, Café Zimmermann and many others, and has recorded numerous CDs while teaching at the Conservatoire à rayonnement régional de Montpellier.

The workshop will provide an opportunity to discover the world of ancient flutes and bassoons, wind instruments in particular, but also the woodwinds and sizes of the instruments and their various specificities. The workshop will end with a short test for the youngest children.

The workshop is free, but you need to register by phone on 04.99.06.27.49 or at the music bank.<\/div>\n <\/div>\n\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Misteria$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 21:00 CET (21/03/2024 21:00 CET)\n <\/small>\n <\/p>\n\n
\n Misteria Paschalia - Prelude | Early Music Day 2024\n <\/h3>\n\n \n KBF Krakow Festival Office\n <\/span>\n\n \n Poland<\/strong>\n <\/span>\n\n \n
The concert by the Polish Radio Luslawice Choir will be devoted to polyphonic music relating to the story of Christ\'s passion. The repertoire will include works by 16th and 17th century Italian and English masters. The event is a prelude to this year\'s edition of the Misteria Paschalia Festival.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Aleksandra Pirogowicz – soprano <\/div>
Polish Radio Choir – Lusławice <\/div>
Andrzej Zawisza – conductor <\/div>\n <\/div>\n\n
\n\n
Misteria Paschalia<\/a><\/li>\n\n
Polish Radio Choir<\/a><\/li>\n\n
KBF<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"La$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 21:04 CET\n <\/small>\n <\/p>\n\n
\n La primavera di Bach\n <\/h3>\n\n \n Associazione Mousike Vicenza\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n
\n
Concerts between 17 and 21 March 2024 in the beautiful venues of Vicenza\'s historic centre.
In memoriam of Michael Radulescu, with Teatro Armonico and many artists.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
With Margherita Dalla Vecchia, Pier Damiano Peretti, Stefano Molardi, Enrico Viccardi, Francesco Galligioni, young students from the Verona Conservatory and Vicenza schools<\/div>\n <\/div>\n\n
\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Bach³\"$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 16/03/2024 20:00 CET\n <\/small>\n <\/p>\n\n
\n Bach³\n <\/h3>\n\n \n AMUZ & Les Muffatti\n <\/span>\n\n \n Belgium<\/strong>\n <\/span>\n\n
\n
BACH³ – three solo instruments, three iconic works and three exceptional soloists: a fresh take on Bach’s Triple Concerto<\/em>, the Fifth Brandenburg Concerto<\/em> and Orchestral Suite No. 2.<\/em> Les Muffatti treat you to a virtuoso, celebratory programme that is bound to put you in a fantastic mood!

<\/div>
In his second orchestral suite, composed in the period between 1724 and 1731, Bach takes a virtuoso approach to the dance suite genre. Besides having the character of a dance, the music has a sophisticated structure and requires particularly virtuoso playing from the soloists. Brandenburg Concerto No. 5<\/em>, dedicated to Margrave Christian Ludwig of Brandenburg-Schwedt, is equally magnificent, with an exceptionally masterful part for the harpsichord. Finally, the lesser-known Triple Concerto <\/em>for traverso, violin and harpsichord displays the three soloists in dazzling contrast to the instrumental ensemble. Bach based this concerto on previously composed material, the Prelude and Fugue in A Minor for harpsichord, BWV 894<\/em>.

<\/div>
Program
<\/strong>
<\/div>
J.S. Bach
<\/strong>Overture (Suite) no. 2 in B Minor for traverso, strings & basso continuo, BWV 1067
Brandenburg Concerto No. 5 in D Major for harpsichord, traverso, violin, strings & basso continuo, BWV 1050
Triple Concerto in A Minor for traverso, violin, harpsichord, strings & basso continuo, BWV 1044<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Frank Theuns, traverso
Sophie Gent, violin
Bertrand Cuiller, harpsichord
Les Muffatti<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Bach³\"$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 17/03/2024 17:00 CET\n <\/small>\n <\/p>\n\n
\n Bach³\n <\/h3>\n\n \n RMVA & Les Muffatti\n <\/span>\n\n \n Luxembourg<\/strong>\n <\/span>\n\n \n
With Frank Theuns on traverso, Sophie Gent on violin and Bertrand Cuiller on harpsichord, Les Muffatti offer a fresh reading of Bach\'s Triple Concerto, Fifth Brandenburg Concerto and Suite in B minor.

The orchestral textures are diversified, with a more soloistic style in the Brandenburg Concerto and a fuller tutti in the Triple Concerto and the Suite. In the Suite, with the exception of the solo movements, we consider the flute to be a sensitive colour in the orchestral texture rather than a solo instrument to be emphasised at all costs.

These fuller tutti run counter to the recent fashion for \"one per voice\" performances, but we are convinced that this option is just as legitimate, and thirty years after the last symphonic versions, which probably suffered from a certain heaviness, with all the lessons of historically informed interpretation, we are convinced that we can take the audience on a journey through a renewed vision of these Bach monuments.

PROGRAMME

Johann Sebastian Bach (1685-1750)
- Overture (Suite) No. 2 BWV 1067 for flute, strings & continuo
- Brandenburgisches Konzert Nr. 5 BWV 1050 for harpsichord, flute, violin, strings & continuo
- Triple Concerto BWV 1044 for flute, violin, harpsichord, strings & continuo<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Frank Theuns, traverso
Sophie Gent, violin
Bertrand Cuiller, harpsichord
The Muffattis<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Meet$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 15:00 CET\n <\/small>\n <\/p>\n\n
\n Meet Diabolus in Musica\n <\/h3>\n\n \n Ensemble Diabolus in Musica\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
Diabolus in Musica opens its doors to you. Come and meet Nicolas Sansarlat, the ensemble\'s artistic director, and the team, who will be delighted to welcome you to their offices at 11 rue des Tanneurs in Tours.

Discussions on artistic projects, presentation of medieval instruments...

Thursday 21 March 2024, 3pm to 5pm
Free, booking recommended<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Nicolas Sansarlat, Artistic Director
Frédérique Alglave, Administrator
Audrey Legendre, Production and Distribution Manager<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n\n
Facebook<\/a><\/li>\n\n
Instagram<\/a><\/li>\n\n
LinkedIn<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"I$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 16:00 CET (21/03/2024 16:00 CET)\n <\/small>\n <\/p>\n\n
\n I Colori del Barocco\n <\/h3>\n\n \n Be Ancient Be Cool\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
A selection of chamber music by J. B. Boismortier, K. H. Graun, A. Caldara, J. J. Quantz on period instruments. A programme which showcases the many colours and timbres of baroque music, perfectly matching the beautiful setting of the Teatro Olimpico.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Isobel Cordone, baroque violin<\/em>
Giuseppe Falciglia, baroque oboe, oboe d\'amore and recorder<\/em>
Silvia Dell\'Agnolo, chalumeau<\/em>
Dario Pisasale, theorbo<\/em><\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n\n
Instagram<\/a><\/li>\n\n
Facebook<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 18:00 CET (21/03/2024 18:00 CET)\n <\/small>\n <\/p>\n\n
\n Hymn of the Cherubim - Orthodox Church Music Concert\n <\/h3>\n\n \n Zespół Śpiewaków Miasta Katowice „Camerata Silesia”\n <\/span>\n\n \n Poland<\/strong>\n <\/span>\n\n \n
The first day of spring has for years been associated with the Early Music Festival. This time we invite you to a classical garden, extraordinary music rich in colours and moods by artists of the turn of the era. Among them are: Maxim Berezovsky, ranked among the \"Golden Three\" composers of Ukrainian classical music of the 18th century, as well as Dmitry Bortniansky - composer, singer and conductor of Lemko origin, and Ukrainian composer and singer - Artem Wedel .

Concert performed by the Ensemble of Singers of the City of Katowice \"Camerata Silesia\" and Ukrainian composer and pianist Ivan Taranenko.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Singers\' Ensemble of the City of Katowice \"Camerata Śląskie\"
Anna Szostak - conductor
Ivan Taranenko - pianist<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n\n
Facebook<\/a><\/li>\n\n
Instagram<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Telemann$ \n <\/div>\n <\/div>\n\n
\n \n Online and On-site\n <\/span>\n\n
\n \n 21/03/2024 16:30 GMT (21/03/2024 17:30 CET)\n <\/small>\n <\/p>\n\n
\n Telemann e Monteverdi\n <\/h3>\n\n \n Conservatorio Alfredo Casella\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
PART I
Alfredo Casella\' Conservatory of Music - L\'Aquila
Ensemble music workshop for ancient instruments by Prof. Maria de Martini
Mandolin Ensemble by Prof. Fabio Giudice

Georg Philipp Telemann (1681-1767)
Sonata in C Major TWV 41:C2
Cantabile, Allegro, Grave, Vivace

Triosonata in A minor TWV 42:a4
Largo, Vivace, Affettuoso, Allegro

Concerto in D Major TWV 40:202
Adagio, Allegro, Grave, Allegro (transcription for four mandolins)

Quartet in D minor TWV 43:D3
Andante, Vivace, Largo, Allegro

PART II

Project 1624-2024: 4 CENTURIES OF COMBAT.
Claudio Monteverdi and the Combattimento di Tancredi e Clorinda on the 4th centenary of the first performance
Coordination Prof. Massimo Salcito

Claudio Monteverdi (1567-1643)
Aria for several voices \"Sì dolce \'l tormento\" by Claudio Monteverdi, SV 332
\"Combattimento di Tancredi e Clorinda\" by Claudio Monteverdi, SV 153
Canzonetta for several voices \"Fugge \'l verno dei dolori\" 232

Ensemble \'Alceo Toni\':
- Azzurra Di Marco
- Arianna Giuliani
- Vincenzo Ciccarelli
- Wei Keke
- Massimo Salcito, Harpsichord<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Performers:
- Nina Taddei, Recorder
- Maria de Martini, Recorder
- Sayaka di Matteo, Baroque Violin
- Antonio Lattanzi, Transverse Flute
- Giordano D\'Alfonso, Harpsichord
- Alberto Lattanzi, Viola da Gamba
- Felice Zaccheo, Viola da Gamba
- Fabio Giudice, Mandolin
- Stefano Pogelli, Mandolin
- Fabio Refrigeri, Mandolin
-Marco Battistelli, Mandolin<\/div>\n <\/div>\n\n
\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Telemania\"$ \n <\/div>\n <\/div>\n\n
\n \n Online and On-site\n <\/span>\n\n
\n \n 21/03/2024 19:30 MSK (21/03/2024 17:30 CET)\n <\/small>\n <\/p>\n\n
\n Telemania\n <\/h3>\n\n \n Gemeinde St.Catherine Lutheran church St.Petersburg\n <\/span>\n\n \n Russian Federation<\/strong>\n <\/span>\n\n
\n
Monographic program with music by G.F. Telemann including his trio-sonatas, solo music for flute, violin, cello and cembalo<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Musica Antiqua Russica, Vladimir Shulyakovskiy<\/div>\n <\/div>\n\n
\n\n
Facebook<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Concert$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 20:00 CET\n <\/small>\n <\/p>\n\n
\n Concert – Ars Vocalis (Pôle d’art vocal de l’Ensemble Arianna) et étudiants du Département Voix et Musiques anciennes de la Cité des Arts de Montpellier \n <\/h3>\n\n \n Association Ars Musica-Montpellier\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
Title: Italy versus Spain

Distribution :
Ars Vocalis (Ensemble Arianna\'s vocal arts centre)
Marie-Paule Nounou, conductor

Voice and Early Music Department of the Cité des Arts de Montpellier
Jean-Philippe Zielinski, conductor

Programme :
Claudio Monteverdi (1567-1643)
Excerpts from the Mass for 4 voices

Marco Antonio Ingegneri (1535-1592)
Responses for Holy Week

Andrea Gabrieli (1533-1585)
Sancta et immaculata Virginitas

Mateo Flecha \'El Viejo\' (1481-1553)
El Fuego - Excerpt from Ensaladas<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
A mixed ensemble of around twenty singers supported by the Ars Musica-Montpellier Association, Ars Vocalis - Pôle d\'art vocal de l\'Ensemble Arianna welcomes anyone wishing to deepen their knowledge of the Renaissance and Baroque vocal repertoire. Each member, drawing on their own individual experience, puts their enthusiasm at the service of the ensemble, under the exacting and precise artistic guidance of Marie-Paule Nounou, in a rigorous rendition of some of the most prestigious works of a cappella polyphony or with a small instrumental ensemble. The repertoire gives pride of place to early Renaissance and Baroque music, but sometimes explores other repertoires with a view to the overall training and personal enrichment of each singer. In November 2023, the ensemble took part in the creation of the central part of Cantique Physique by Jean-Marc Fouché, composer in residence at the Cité des Arts.
Born in 2008 as a partner in concerts with Ensemble Arianna, he has performed in Languedoc-Roussillon in such works as Purcell\'s Anthems, excerpts from Handel\'s Messiah, Vivaldi\'s Gloria, Credo and Magnificat, Carissimi\'s Histoire de Jephté, Allegri\'s Miserere, Schütz\'s Seven Words of Christ on the Cross, and grand motets by Mondonville and Corrette. With the help of organist Frédéric Muñoz, he has restored Latin American pieces from the sixteenth, seventeenth and eighteenth centuries.
In masterclasses, he brings in prestigious singers and conductors to deepen his stylistic and vocal knowledge. In December 2015, tenor Gilles Ragon conducted a programme entitled Vivaldi, Albinoni, Caldara, Princes of Venice, and 2017 was dedicated to Monteverdi, under the passionate guidance of Gabriel Garrido, a great specialist in this composer. In 2023, countertenor Sebastian Monti led a programme of French music dedicated to Campra, Bernier and Clérambault.

In 2007, the Cité des Arts - Danse, Musique, Théâtre was classified as a Conservatoire à rayonnement régional (CRR) within the national network of public music, dance and drama teaching establishments by the Ministry of Culture.
As a result, its missions are as follows:
- to offer excellent teaching accessible to all, throughout the country, in conjunction with local schools, the national education system and broadcasting organisations;
- to help build children\'s personalities, development and self-fulfilment;
- to act as a resource centre for local schools and outside audiences in terms of amateur practice, while identifying and training tomorrow\'s professional artists, taking them to the gates of higher education and the profession of artist;
- offering excellent training to students on the road to professionalism through master classes and internships (training to become soloists and orchestral musicians), and extending the reach of these courses, which could form the basis of higher education in partnership with the university;
- educate children and young people for the performing arts by preparing them for live performances and encouraging them to experience the thrill of live performance.<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Musical$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 22/03/2024 15:30 CET\n <\/small>\n <\/p>\n\n
\n Musical tours of the Musée Fabre collections (Montpellier) - Armance Merle and Juliette Guichard\n <\/h3>\n\n \n Les Muses en dialogue\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
Title: Music and painting - Mirrors of our emotions

Cast :
Armance Merle, recorders and baroque traverso
Juliette Guichard, viola da gamba

Programme :
As part of the European Early Music Days, the Musée Fabre is opening its doors to Armance Merle and Juliette Guichard. On a guided musical and pictorial tour, music and paintings reveal their secrets.

The flute and viola da gamba will resonate in this majestic setting during an original guided tour, revealing each work through the prism of emotions.

A musical tour of the Musée Fabre\'s permanent collections lasting around 1 hour.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Juliette Guichard first encountered the viola da gamba at the age of 7. Fascinated by the sonorities it offers and the wide range of repertoires to which it is devoted, she decided, after ten years of study at the CRR in Angers alongside Eleanor Lewis-Cloué, to make it her great travelling companion. She is currently studying for a master\'s degree at the CNSMD Lyon with Myriam Rignol and at the Schola Cantorum Basiliensis with Paolo Pandolfo, and enjoys exploring a wide range of musical worlds, from medieval repertoires (trio Ecco la Primavera) to contemporary creation (collectif Synérèse), (Synérèse collective), Latin American baroque (Transatlantique ensemble), French baroque (Les Étourdi-es ensemble) and music from the Mediterranean basin (Matica de Flor ensemble). She now performs on numerous stages in France and Switzerland, and continues to train with renowned violists and conductors such as Marianne Müller, Lucile Boulanger, Sébastien Daucé and Vincent Dumestre. An enthusiastic musician, she has developed a multi-faceted and colourful style of playing in which timbres and styles meet.

Armance Merle studied the recorder and traverso at the Meaux Conservatoire, alongside a degree in theatre. She went on to study the recorder at the CNSMD Lyon with Pierre Hamon, Sébastien Marq and Tiago Simas Freire, and the traverso at the CRR Lyon in 2020 with Serge Saïtta and Jean Brégnac. She then explored the possible horizons of these instruments. As part of the Synérèse collective, she created the multidisciplinary show Somnescence, linking music and dance, and joined the Transatlantique ensemble to explore early Latin American repertoire, as well as the ensembles Les Étourdi-es and La Nébuleuse to explore French baroque music. In 2023, she also recorded Télémaque and Calypso with the ensemble Les Ombres. She then joined the Consort de Passage to perform Renaissance and contemporary repertoire, and Ecco la Primavera, which brings medieval music to life through a chivalric tale. In 2022, her desire to explore new avenues also led her to begin work on the show Plantons-nous as part of the Les Grimpantes collective, which continues to develop this desire for multidisciplinarity.<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"The$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 19/03/2024 18:30 GMT (19/03/2024 19:30 CET)\n <\/small>\n <\/p>\n\n
\n The Mosaic Suite. An homage to Johann Sebastian Bach\n <\/h3>\n\n \n Pablo Tejedor-Gutiérrez\n <\/span>\n\n \n Spain<\/strong>\n <\/span>\n\n \n
This concert aims to make a little celebration of the beginning of the Spring, the Early Music Day and JS Bach birthday! As a cellist, I owe JS some of the greatest joys of my life thanks to the microuniverse he created by composing the six cello suites for solo cello. Melancholy, exalted joy, deep thoughts, positive contemplation, exciting dances, moving atmospheres... Bach encapsulated so many feelings and ways of living through the sound in a couple of hours of music.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Pablo Tejedor-Gutiérrez, baroque cello and piccolo cello (5 strings)<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n \n On-site\n <\/span>\n\n
\n \n 17/03/2024 18:00 CET\n <\/small>\n <\/p>\n\n
\n Wiosna Barokowa i „Śląskie Smyki”– Early Music Day 2024\n <\/h3>\n\n \n Palace at Rybna\n <\/span>\n\n \n Poland<\/strong>\n <\/span>\n\n \n
Johann Sebastian Bach- Air from Orchestral Suite no. 3 in D major BWV 1068<\/div>
Johann Sebastian Bach- Bist du bei mir BWV 508
Johann Sebastian Bach - Chorale \"Jesus, bleibet meine Freude\" from the Cantata \"Herz und Mund und Tat und Leben\" - mov. X, BWV 147

<\/div>
Joseph Haydn - Divertimento F major – Menuet HOB XIV 9
Joseph Haydn - Divertimento C major HOB.XIV 7
Joseph Haydn - Divertimento C major HOB.XIV 4

Johann Sebastian Bach – Harpsichord Concerto F minor BWV 1056 - Allegro<\/div>
Antonio Vivaldi - Concerto for strings in D major RV 121<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Soloists: Antonina Kańtoch, Natalia Sobisz, Karolina Gwiżdż, Sebastian Balcerzak - harpsichord<\/div>
Hanna Balcerzak - harpsichord
Orchestra Śląskie Smyki<\/em> <\/div>
Alicja Pacześniak-Słota– conductor<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"L'idolo$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 22/03/2024 18:30 EET (22/03/2024 17:30 CET)\n <\/small>\n <\/p>\n\n
\n L'idolo Orfeo\n <\/h3>\n\n \n Luxuria Europae Association\n <\/span>\n\n \n Bulgaria<\/strong>\n <\/span>\n\n \n
A celebration of 17th and 18th century vocal and instrumental repertoire inspired by the myth of Orpheus - the Thracian musician, whose paths crossed today\'s Bulgarian mountains. The program includes works by Pergolesi, Caccini and others.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Rumyana Kostova - soprano, Sofia Baroque Arts festival ensemble: Zefira Valova, Sofi Stambolieva - violins, Evgenia Bauer - viola, Ludovico Minasi - cello, Yavor Genov - lute, Nikolay Stoykov - harpsichord<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n\n
https://zefiravalova.eu<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n \n Online and On-site\n <\/span>\n\n
\n \n 23/03/2024 15:30 CET (23/03/2024 15:30 CET)\n <\/small>\n <\/p>\n\n
\n DOMENICO SCARLATTI. 16 Sonate\n <\/h3>\n\n \n Grandezze & Meraviglie\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
The legendary harpsichordist Stefano Innocenti, a great Italian soloist, offers a selection of splendid sonatas by Domenico Scarlatti.

<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Stefano Innocenti, harpsichord. Riccardo Castagnetti, lecturer.

<\/div>\n <\/div>\n\n
\n\n
YouTube<\/a><\/li>\n\n
Facebook<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"MATTHÄUS$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 22/03/2024 20:00 CET\n <\/small>\n <\/p>\n\n
\n MATTHÄUS PASSION\n <\/h3>\n\n \n LE BANQUET CÉLESTE\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
After concerts of the St John Passion, the Easter and Ascension Oratorios, and recordings for Alpha Classics of J.S. Bach\'s Cantatas in recent years, Damien Guillon tackles this Passion, faithful to his musical commitment, as close as possible to a historical, authentic and sincere reading of this masterpiece, surrounded by the ensemble\'s long-standing musicians.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Damien Guillon, Direction

Robin Tritschler, Evangelist
Edward Grint, Jesus
Céline Scheen, Maïlys de Villoutreys, sopranos
Paul-Antoine Benos-Djian, Blandine de Sansal, altos
Nicholas Scott, Bradley Smith, tenors
Edward Grint, Marco Saccardin, basses
Mélisme(s) Chamber Choir dir. Gildas Pungier
Maîtrise de Bretagne dir. Maud Hamon-Loisan<\/div>\n <\/div>\n\n
\n\n
https://www.opera-rennes.fr/fr/evenement/passion-selon-saint-matthieu<\/a><\/li>\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n \n On-site\n <\/span>\n\n
\n \n 23/03/2024 19:00 CET (23/03/2024 19:00 CET)\n <\/small>\n <\/p>\n\n
\n Caritas et Amor - La scuola della Carità tra Arte e Musica\n <\/h3>\n\n \n Concentus Musicus Patavinus - Università degli Studi di Padova - Coro da Camera\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
The oratorio \'La Morte di Sant\'Antonio\' by B. Aliotti fits into the context of 17th century sacred art, flanking masterpieces such as \"Jephte\" by G. Carissimi: both examples of how sacred music transcended the boundaries of the era, communicating emotions and spirituality through a masterful combination of music and word.
The concert is preceded by a guided tour by the Doctorate Course in History, Criticism and Conservation of Cultural Heritage at the University of Padua.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Francesca Toso, PhD student in History, Criticism and Conservation of Cultural Heritage

Alice Fraccari, soprano
Camilla Scappatura, soprano
Maria de Lourdes Carrillo Guerrero, soprano
Rosalba Cipriani, mezzo-soprano
Sara Tommasini, alto
Michele Fracasso, tenor
Alessio Bisetto, bass

Chamber Choir of the Concentus Musicus Patavinus - University of Padua -

Luca Ranzato, violin and viola
Alessandra Scatola, violin and viola
Carolina Putica, recorder
Francesco Galligioni, cello
Roberto Loreggian, organ
Ignacio Vazzoler, conductor <\/em><\/div>\n <\/div>\n\n \n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Café$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 13:00 EET (21/03/2024 12:00 CET)\n <\/small>\n <\/p>\n\n
\n Café Barock: Early Music Awards & Early Music Students Concert\n <\/h3>\n\n \n Café Barock / Ensemble Nylandia,\n <\/span>\n\n \n Finland<\/strong>\n <\/span>\n\n
\n
The Finnish Early Music Association will present the \nMaking of Early Music 2023 recognition award, selected by \nmusic journalist Risto Nordell.\n
<\/div>

<\/div>

<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Risto Nordell (music journalist)

Sofia Fernholm, harpsichord (Sibelius Academy)
Ester Nurminen, baroque cello (Itä-Helsinki Music Institute)<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n\n
Facebook<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n \n Online and On-site\n <\/span>\n\n
\n \n 15/03/2024 18:00 CET (15/03/2024 18:00 CET)\n <\/small>\n <\/p>\n\n
\n LA GALLERIA ESTENSE TRA ARTE E MUSICA. Genesi di una collezione\n <\/h3>\n\n \n Grandezze & Meraviglie\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
Presentation of the collection of Galleria Estense di Modena on the musical instruments, which were prominent at the Duke’s Cabinet of Wonders. For example the Arpa Estense from Concerto delle Dame di Ferrara at the end of the 16th century.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Paola Gigini, lecturer.<\/div>\n <\/div>\n\n
\n\n
YouTube<\/a><\/li>\n\n
Facebook<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Concert$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 20/03/2024 19:00 CET\n <\/small>\n <\/p>\n\n
\n Concert – Freiburger Barockorchester \n <\/h3>\n\n \n Orchestre Opéra National Montpellier\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
Title :
St Matthew Passion by Johann Sebastian Bach

Cast :
Francesco Corti, conductor
Maximilian Schmitt, Evangelist
Yannick Debus, Christ
Kateryna Kasper, soprano
Philippe Jaroussky, countertenor
Zachary Wilder, tenor
Andreas Wolf, bass

Programme :
A sacred work premiered on 11 April 1727 in Leipzig at the Good Friday Vespers service, the St Matthew Passion unfolds its intense spiritual message, monumental and meditative, in which the Evangelist\'s recitative occupies an essential place.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Passion, joy of playing and authenticity: these are the musical pillars of the Freiburger Barockorchester (FBO). For more than three decades, the FBO has been one of the world\'s most renowned period-instrument ensembles, giving more than 100 concerts a year in Germany and abroad. The orchestra was founded by a group of graduates of the Hochschule für Musik Freiburg with the aim of bringing Baroque and Classical music back to life in a historically informed way. International engagements soon followed, and the FBO soon became one of the most sought-after ensembles in the world of early music. This success is documented by over 130 recordings, some of which have won awards. In addition to its own subscription series in Freiburg, Stuttgart and Berlin, the FBO performs in the world\'s leading concert halls, including New York\'s Lincoln Center, the Elbphilharmonie, Vienna\'s Musikverein and the Philharmonie de Paris. The FBO is also a regular guest at international festivals such as the Salzburger Festspiele, the Rheingau Musik Festival and the Gstaad Menuhin Festival, among others. Musical responsibility for the orchestra lies with Cecilia Bernardini and Gottfried von der Goltz, who conduct the ensemble from the violin.
In line with historically informed practice, the FBO generally gives concerts without a conductor. For selected programmes such as opera productions or romantic symphonies, the orchestra collaborates with renowned conductors such as Pablo Heras-Casado, René Jacobs or Sir Simon Rattle.The FBO maintains close musical friendships with Kristian Bezuidenhout, Isabelle Faust, Dorothee Mields, Vox Luminis, the Zürcher Sing-Akademie and the RIAS Kammerchor Berlin.For the 2023/24 season, the orchestra is once again showcasing its great stylistic diversity.These include performances of Charpentier\'s Médée conducted by Sir Simon Rattle at the Unter den Linden State Opera in Berlin, Bach\'s St Matthew Passion with Philippe Jaroussky in France, Spain and Korea, and works by Mendelssohn and Brahms at the Bachfest Leipzig in collaboration with the Gaechinger Cantorey and Hans-Christoph Rademann.<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Concert$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 24/03/2024 15:00 CET\n <\/small>\n <\/p>\n\n
\n Concert - Cité des Arts DMA teachers, in partnership with Ensemble Arianna\n <\/h3>\n\n \n Professeurs du DMA de la Cité des Arts, en partenariat avec l’Ensemble Arianna – Auditorium de la Cité des Arts (Montpellier)\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n
Title: Music in Kroměříž

Cast:

Teachers of the CRR of Montpellier :
Sarah Labrousse, baroque violin
Ségolène Saytour, baroque violin
Olivier Brouard, cornet à bouquin
Julien Miro, sackbut
Luc Gaugler, viola da gamba
Ariane Lallemand, baroque cello
Alain Cahagne, organ

Ensemble Arianna :
Marie-Paule Nounou, harpsichord

Guest artists :
Judith Pacquier, cornetto
Wanda Kozyra, theorbo

Programme :
Kroměříž, a small town in Moravia in what is now the Czech Republic, has been the residence of the prince-bishops of Olomuc since the fifteenth century. From 1664 to 1695, one of them, Karl II von Lichtenstein-Kastelkorn, a great lover of music and collector of scores, gathered a number of musicians around him in his episcopal palace. He appointed the famous violin virtuoso Heinrich Ignaz Franz Biber as his Kapellmeister, and maintained close ties with the composers and musicians of the imperial court in Vienna. His extensive music library still provides us with works that are often little-known, by major composers of the period such as Johann Heinrich Schmelzer, Alessandro Poglietti, Antonio Bertali and Pavel Josef Vejvanovsky.
The teachers in the Early Music Department of the Cité des Arts de Montpellier, in partnership with Marie-Paule Nounou of Ensemble Arianna, have invited Judith Pacquier on the cornetto and Wanda Kozyra on the theorbo to present this programme, which will attempt to evoke the musical atmosphere at the crossroads of Italian and Germanic styles that could be heard at the court of this music-loving prince-bishop.

[1] Alessandro POGLIETTI (?-1683)
- Suite for 6 in BbM
\"Balletto a 6. Poglietti
2 violins, 2 cornets, viol, 2 sackbut and basso continuo

[2] Heinrich Ignaz Franz BIBER (1644-1704)
- Pars I to 4 in D
\"Mensa Sonara, seu Musica Instrumentalis sanatis aliquot Liberius soonantibus ad mensam, 1680\" Pars I to 4
2 violins, viola and continuo

[3] Johann Heinrich SCHMELZER (1620-1680)
- Sonata for 4 detta la Carolietta in G M
\"Sonata a 4 Violino, Cornetto, Trombone e Fagotto detta la Carolietta Composta del Schmeltzer Musico di Camera... Anno 1669
violin, cornet, sackbut and continuo

[4] Alessandro POGLIETTI
- Suite \"Rossignolo\" in D: Aria bizarra del Rossignolo, Imitatione del med[esi]mo Ucello
\"Rossignolo. Giach\'in qto tempo et grata Staggione Comincia a Cantar il Rossignolo, qui si vederà l\'imitazione per imitar lo al Cembalo, 1677 \"
organ

[5] Antonio BERTALI
- Sonata for 2 in D
\"Sonata a 2, violino e viola da gamba col basso per l\'organo
cornet, sackbut and continuo

[6] Johann Heinrich SCHMELZER
- Sonata \"Cu cu\" in lam for violin and Bc\"Sonata Cu Cu a Violino Solo, Basso, Authore Dno, Henrico Schmeltzerviolin and basso continuo

[7] Antonio BERTALI (1605-1669)- Sonata for 6 in E flat
\"Sonata a 6, 2 violini, viola da braccio, 2 tenero [e violone] con il basso per l\'organo\".2 violins, 2 cornets, viol, 2 sackbut and basso continuo

Free admission subject to availability<\/div>\n <\/div>\n\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Vision$ \n <\/div>\n <\/div>\n\n
\n \n Online\n <\/span>\n\n
\n \n 21/03/2024 13:00 GMT (21/03/2024 14:00 CET)\n <\/small>\n <\/p>\n\n
\n Vision - The Telling (Film)\n <\/h3>\n\n \n The Telling\n <\/span>\n\n \n United Kingdom<\/strong>\n <\/span>\n\n \n
\"Norburn and mezzo Ariane Prüssner are mesmerising in the music. An austerely beautiful piece... it really is wonderful, so do try and catch it.\"<\/em>
The Guardian, Tim Ashley (Aug 2020)<\/span><\/a>

A mesmerising concertplay by Clare Norburn. Blurring the boundaries of drama and concert, Vision explores the extraordinary life of the visionary medieval abbess Hildegard of Bingen, alongside her haunting and distinctive chant.

The show provides an insight into the painful and visceral visionary experiences Hildegard suffered throughout her life. It is “an imagined testimony” as Hildegard, played by actor Teresa Banham, revisits and re-experiences meaningful episodes from her past.

It costs just £5.99 to stream the film until 24 March 2024.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Teresa Banham, actor as Hildegard
Clare Norburn, voice
Ariane Prüssner, voice
Jean Kelly, medieval harp

Nicholas Renton, director
Clare Norburn, writer & producer
Natalie Rowland, lighting designer
Mark Rowland, lighting
Gerald Kyd, camera
Jiva Housden, sound
Ignacio Lusardi Monteverde, sound editor
Madeleine Edis, costume designer<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n \n Online\n <\/span>\n\n
\n \n 21/05/2024 14:00 BST (21/05/2024 15:00 CEST)\n <\/small>\n <\/p>\n\n
\n Unsung Heroine - The Telling (Film)\n <\/h3>\n\n \n The Telling\n <\/span>\n\n \n United Kingdom<\/strong>\n <\/span>\n\n \n
Delve into the heady atmosphere of 12th century Provence to discover the imagined life and love of the redoubtable troubadour Countess Beatriz de Di, soundtracked by the plaintive music and poetry of the troubadours and lively medieval dances performed by The Telling.

The story imagines how Beatriz came to write her impassioned song \'A Chantar\', the only example of a troubadour song by a woman, where both the poetry and melody have survived. Beatriz’s poetry is grounded in the rules of courtly love. She lives in a world where emotions are sacrificed to the strait-jacket of ritual: her only recourse is to channel her pain, love and desire for revenge into this passionate song.

It costs just £5.99 to stream the film until 24 March 2024.<\/div>

<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Anna Demetriou, actor as Beatriz de Dia
Clare Norburn, voice
Ariane Prüssner, voice
Giles Lewin, Vielle & bagpipes
Joy Smith, harp & percussion

Nicholas Renton, director
Clare Norburn, writer & producer
Natalie Rowland, lighting designer
Gerlad Kyd, camera
Jiva Housden, sound
Ignacio Lusardi Monteverde, sound editor
Madeleine Edis, costume designer<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Continental$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 24/03/2024 18:15 CET\n <\/small>\n <\/p>\n\n
\n Continental Connection: Robert Dow's Partbooks\n <\/h3>\n\n \n ReRenaissance – Forum Frühe Musik\n <\/span>\n\n \n Switzerland<\/strong>\n <\/span>\n\n \n
Robert Dow’s beautiful set of 5 partbooks is a treasure trove for lovers of Byrd, White and Tallis. But did you know that these books also contain other musical treasures from the 1580s that were written abroad? They were brought to England, passed from hand to hand, and carefully entered into personal music collections. Apparently, the music of Philip van Wilder, Alfonso Ferrabosco and Orlando di Lasso must have appealed to Mr. Dow, who collected and preserved their songs along with those of their English counterparts. Trace the journey of the repertoire and discover the influence of foreign musicians at the English court and the music they brought with them.<\/div>

<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Brigitte Gasser, Filipa Meneses, Tabea Schwartz – Renaissance gamba

<\/div>
Giovanna Baviera – Renaissance gamba, voice

<\/div>
Caroline Ritchie – Renaissance gamba; direction<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n \n On-site\n <\/span>\n\n
\n \n 19/03/2024 18:30 GMT (19/03/2024 19:30 CET)\n <\/small>\n <\/p>\n\n
\n The Mosaic Suite. A Homage to J S Bach\n <\/h3>\n\n \n Stoke Newington Library\n <\/span>\n\n \n United Kingdom<\/strong>\n <\/span>\n\n \n
What better than celebrate the beginning of the Spring, the National Early Music Day and the birthday of JS Bach? For any musician, all these interlinked events are a wonderful occasion to remind ourselves of why we play this beautiful music and to share the wonderful joy of playing the Early Music repertoire. And in my case, as a cellist, what else could I play other than Bach\'s cello suites to pay homage to his musicianship? I have selected different dances from suites 1, 3 and 4 to create a \"mosaic suite\" that can serve to honour this moment and share a glimpse of this outstanding universe with the audience.<\/em><\/div>\n <\/div>\n\n \n Musicians<\/span>\n
Pablo Tejedor-Gutiérrez, baroque cello<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Buon$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 18/03/2024 17:45 CET\n <\/small>\n <\/p>\n\n
\n Buon Compleanno Bach\n <\/h3>\n\n \n Associazione Mousike Vicenza\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
MONDAY 18 March
ODEO OF THE OLYMPIC THEATRE
5.45 p.m. The Cello Suites BWV 1010, 1011, 1012 second part
Francesco Galligioni, baroque cello<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Francesco Galligioni
Associazione Mousikè <\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Orfeo$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 22/03/2024 18:30 EET (22/03/2024 17:30 CET)\n <\/small>\n <\/p>\n\n
\n Orfeo - the Idol\n <\/h3>\n\n \n Luxuria Europae Association\n <\/span>\n\n \n Bulgaria<\/strong>\n <\/span>\n\n \n
A concert with works by Pergolesi, Caccini, Handel inspired by the myth of Orfeo, who is tightly connected with the mountains in southern Bulgaria. This special program, premiering works from the 18th century for the Balkan region, is performed by the core members of the Sofia Baroque Festival Ensemble. <\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Rumyana Kostova, soprano
Sofia Baroque Arts Festival Ensemble
Zefira Valova, violin
Sofi Stambolieva, violin
Gergana Deliyska, violin
Evgenia Bauer, viola
Ludovico Minasi, cello
Yavor Genov, lute
Nikolay Stoykov, harpsichord <\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"BEMF$ \n <\/div>\n <\/div>\n\n
\n \n Online\n <\/span>\n\n
\n \n 21/03/2024 00:00 EDT (21/03/2024 05:00 CET)\n <\/small>\n <\/p>\n\n
\n BEMF Chamber Opera Series presents Lampe's The Dragon of Wantley\n <\/h3>\n\n \n Boston Early Music Festival\n <\/span>\n\n \n United States<\/strong>\n <\/span>\n\n
\n
Monty Python meets Handel as the GRAMMY-winning BEMF Chamber Opera Series presents this 1737 English comic opera recorded LIVE in Boston. A fire-breathing dragon is terrorizing the Yorkshire countryside, and only the local squire can save the day. If only he can be bothered to put down his beer!<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Paul O’Dette & Stephen Stubbs,<\/strong> Musical Directors
<\/em>Gilbert Blin,<\/strong> Stage Director
<\/em>Robert Mealy,<\/strong> Concertmaster
<\/em>Melinda Sullivan,<\/strong> Choreographer
<\/em>Seth Bodie,<\/strong> Costume Designer
<\/em>Kelly Martin,<\/strong> Lighting Designer
<\/em>Jason McStoots,<\/strong> Assistant Stage Director
<\/em>Kathleen Fay,<\/strong> Executive Producer
<\/em>
<\/div>
Teresa Wakim, soprano – Margery<\/em>
Hannah De Priest, soprano – Mauxalinda<\/em>
Aaron Sheehan, tenor – Moore, of Moore-Hall<\/em>
John Taylor Ward, bass-baritone – The Dragon<\/em>
Douglas Williams, bass-baritone – Gaffer Gubbins, father to Margery
<\/em>
<\/div>\n <\/div>\n\n
\n\n
YouTube<\/a><\/li>\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 17:30 CET (21/03/2024 17:30 CET)\n <\/small>\n <\/p>\n\n
\n Guillaume Du Fay: between hidden architecture and projection into the future\n <\/h3>\n\n \n Pontificio Istituto Ambrosiano di Musica Sacra di Milano (Pontifical Ambrosian Institute of Sacred Music in Milan)\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
2024 marks the 550th anniversary of Guillaume Du Fay\'s death, and Early Music Day is the perfect occasion to remember his long and important compositional career. \'Luna totius musicae\': this is how he is mentioned by Compère in the motet Omnium bonorum plena. And indeed, Du Fay was an important reference point for his own and subsequent generations of composers. Always open to all musical novelties, he was able to constantly update his own compositional paradigm. At the same time, however, he was able to combine this continuous drive towards the future with the preservation of that late-medieval symbolic conception that characterised the works of the masters who had preceded him. All this gave rise to an interesting mix of the ancient and the modern, which certainly, together with other elements, constitutes one of the ingredients of Du Fay\'s greatness.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Francesco Rocco Rossi, Professor of Musical Semiography at the Pontifical Ambrosian Institute of Sacred Music in Milan<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"L'incanto$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 20/03/2024 16:30 CET (20/03/2024 16:30 CET)\n <\/small>\n <\/p>\n\n
\n L'incanto della Musica - Il mito di Orfeo\n <\/h3>\n\n \n Concentus Musicus Patavinus - Università degli Studi di Padova - Scuola di di Dottorato in Storia, Critica e Conservazione dei Beni Culturali\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
Orpheus, the legendary musician of Greek mythology, enchanted with the sound of his lyre, which tamed the beasts and moved the gods themselves. His music conveyed deep emotions and told stories that touched the soul, making him an iconic figure of the power of music to express feelings and overcome challenges.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Monica Salvadori, Vice-Chancellor for Artistic, Historical and Cultural Heritage
Mario La Rosa, PhD student in History, Criticism and Conservation of Cultural Heritage<\/div>\n <\/div>\n\n
\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Arde$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 13/04/2024 18:00 CEST\n <\/small>\n <\/p>\n\n
\n Arde d'Amore il cielo \n <\/h3>\n\n \n associazione antica massa cybea\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n
\n
Conference - Concert on the women of Jerusalem Delivered between poetry, music and painting<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Ilaria Zolesi, musicologist
Alessandro Maggiani, painter
Ensemble Massa Cybea: Eleonora Di Dato (soprano) Luciano Bonci (tenor) Claudia Paz (cello) Erminia Migliorini (harpsichord)<\/div>\n <\/div>\n\n
\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"A$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 19:30 GMT (21/03/2024 20:30 CET)\n <\/small>\n <\/p>\n\n
\n A Divine Hope\n <\/h3>\n\n \n Stile Antico\n <\/span>\n\n \n United Kingdom<\/strong>\n <\/span>\n\n
\n
Telling Dante’s story, Stile Antico descends with Il Divino into Hell, journeys with him through Purgatory, and finally arrives at the gates of Heaven. Renaissance madrigals and sacred music by composers such as Palestrina, Guerrero and Morales illustrate the way, setting to music prayers which the poet features in his epic verse. Texts by Dante himself, set to music by Lazzaschi and Merulo, also narrate the story. These are punctuated by readings from the Divine Comedy. At the pinnacle of heaven we meet the Virgin Mary in Victoria’s glorious 12-part Magnificat.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Soprano - Helen Ashby, Kate Ashby, Rebecca Hickey
Alto - Emma Ashby, Cara Curran, Rosemarie Clifford
Tenor - Andrew Griffiths, Jonathan Hanley, Benedict Hymas
Bass - James Arthur, Nathan Harrison, Gareth Thomas<\/div>\n <\/div>\n\n
\n\n
https://www.stileantico.co.uk/events<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"NAPOLI$ \n <\/div>\n <\/div>\n\n
\n \n Online and On-site\n <\/span>\n\n
\n \n 21/03/2024 19:30 CET (21/03/2024 19:30 CET)\n <\/small>\n <\/p>\n\n
\n NAPOLI BAROCCA - SICUT ERAT / Sacro e Strumentale nel Settecento Napoletano / Convivio Armonico per Early Music Day\n <\/h3>\n\n \n Area Arte Associazione / Ensemble Le Musiche Da Camera\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n
\n
AREA ARTE Associazione -
<\/em><\/strong>“LE MUSICHE DA CAMERA”
<\/strong>Ensemble vocale - strumentale con strumenti d’epoca
<\/em>
<\/div>
NAPOLI BAROCCA - SICUT ERAT / Sacro e Strumentale nel Settecento Napoletano<\/em><\/strong><\/div>

<\/em>GIROLAMO ABOS * <\/strong><\/div>
SINFONIA a due violini e basso<\/em><\/strong><\/div>
Tempo I (Allegro), Andante, Allegro<\/em> <\/div>
<\/div>
GIOVANBATTISTA PERGOLESI<\/strong><\/div>
SALVE REGINA <\/em><\/strong>° <\/div>
in La min. a voce sola con violini e basso continuo<\/em><\/strong> <\/strong><\/div>
<\/strong><\/div>
NICCOLO’ PICCINNI<\/strong><\/div>
PATER NOSTER *<\/em><\/strong><\/div>
per alto solo con archi e basso continuo<\/em><\/strong><\/div>
Manoscritto dal Fondo Noseda, Milano<\/em><\/strong><\/div>
<\/em><\/strong><\/div>
A. SERVILLO § <\/strong><\/div>
“CONCERTO per flauto traverso, violini e basso” <\/em><\/strong><\/div>
Allegretto, Largo cantabile, Allegro <\/em><\/div>
<\/div>
G.F. HAENDEL <\/strong><\/div>
DOLCI CHIODI, AMATE SPINE<\/em><\/strong><\/div>
Duetto di Maddalena e Cleofe dall’Oratorio “La Resurrezione”<\/em><\/div>
<\/em><\/strong><\/div>
Trascrizione a cura di Egidio Mastrominico * <\/em><\/strong><\/div>
Trascrizione a cura di Renata Cataldi § <\/em><\/strong><\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
“LE MUSICHE DA CAMERA”<\/strong><\/div>
Ensemble vocale - strumentale con strumenti d’epoca<\/em><\/div>
1992/2024 Trentadue anni di musica barocca a Napoli

<\/em>Rosa Montano - <\/em><\/strong>mezzosoprano / <\/em>Francesco Divito - <\/em><\/strong>sopranista <\/em><\/div>
Mastrominico Egidio - <\/em><\/strong>violino di concerto <\/em><\/div>
Cataldi<\/em><\/strong> <\/em>Renata <\/em><\/strong>– flauto traversiere<\/em><\/div>
Grieco Giuseppe - <\/em><\/strong>violino / <\/em>Bottiglioni<\/em><\/strong> <\/em>Giorgio <\/em><\/strong>viola<\/em><\/div>
Massa Leonardo <\/em><\/strong>– violoncello<\/em> / Capitanio Debora - <\/em><\/strong>clavicembalo<\/em><\/div>
<\/em><\/strong><\/div>\n <\/div>\n\n
\n\n
Canale di AREA ARTE dove verrà trasmesso il video<\/a><\/li>\n\n
Pagina FB di AREA ARTE dove sarà trasmesso il video<\/a><\/li>\n\n
Pagina FB di Le Musiche Da Camera dove sarà trasmesso il video<\/a><\/li>\n\n
Instagram Ensemble Le Musiche Da Camera<\/a><\/li>\n\n
Instagram Area Arte<\/a><\/li>\n\n
Website AREA ARTE <\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Il$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 18:00 CET (21/03/2024 18:00 CET)\n <\/small>\n <\/p>\n\n
\n Il Cinquecento in Villa - Musiche ai tempi di Don Quijote de La Mancha - \n <\/h3>\n\n \n Concentus Musicus Patavinus - Università degli Studi di Padova - Villa Bassi Rathgeb - Rassegna Ospiti in Villa\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
Il programma intende ricreare l’ambiente musicale del Quijote, della sua epoca, valorizzando i cancioneros musicales españoles (termine utilizzato per definire una collezione o antologia di poemi che potevano o no essere destinati al canto) e alcuni manoscritti tra i più significativi dell’arte musicale iberica. <\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Chœur de chambre du Concentus Musicus Patavinus - Université de Padoue
Rosalba Cipriani, direction <\/div>\n <\/div>\n\n
\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"L'Oeil$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 16/03/2024 14:21 CET\n <\/small>\n <\/p>\n\n
\n L'Oeil d'Artemisia\n <\/h3>\n\n \n Ensemble La Rêveuse\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n
\n
La Rêveuse invites you to rediscover the life of the famous painter Artemisia Gentileschi in words, images and music through the text L\'Oeil d\'Artemisia<\/em>, read by its author Emmanuelle Favier.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Emmanuelle Favier writer
Florence Bolton, pardessus de viole
Benjamin Perrot, theorbo<\/div>\n <\/div>\n\n
\n\n
https://ensemblelareveuse.com/<\/a><\/li>\n\n
https://ensemblelareveuse.com/<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Membra$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 17/03/2024 11:00 CET\n <\/small>\n <\/p>\n\n
\n Membra Jesu Nostri\n <\/h3>\n\n \n Ensemble Locatelli\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n
\n
Opening concert of the 2024 Season of Ensemble Locatelli, Bergamo Baroque Orchestra, hosted this year in the theater of Bergamo.

<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
ENSEMBLE VOCALE LOCATELLI<\/strong><\/div>
Maddalena De Biasi: soprano I<\/div>
Valeria La Grotta: soprano II<\/div>
Ilariandrea Tomasoni: contralto<\/div>
Matteo Straffi: tenore<\/div>
Lorenzo Tosi: basso<\/div>
ENSEMBLE LOCATELLI<\/strong><\/div>
Jérémie Chigioni, Regina Yugovich: violini<\/div>
Alessandro Arnoldi: viola<\/div>
Leonardo Gatti: violoncello<\/div>
Alessia Travaglini: viola da gamba<\/div>
Carlo Sgarro: contrabbasso<\/div>
Andrea Antonel: tiorba<\/div>
Thomas Chigioni: clavicembalo, organo, direzione<\/strong><\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n \n On-site\n <\/span>\n\n
\n \n 24/03/2024 10:45 CET (24/03/2024 10:45 CET)\n <\/small>\n <\/p>\n\n
\n Fiori barocchi 2024\n <\/h3>\n\n \n Il Borgo musicale - Associazione Incontri con la musica APS\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
Classical music concert held by students from \'Il Borgo musicale - Associazione Incontri con la musica APS\' with the participation of students from the \'Pietro Bertani\' aps Academy in Luino<\/div>\n <\/div>\n\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"In$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 17/03/2024 16:00 CET\n <\/small>\n <\/p>\n\n
\n In Memoriam Michael Radulescu\n <\/h3>\n\n \n Associazione Mousike Vicenza\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
In memoriam Michael Radulescu
Church of San Filippo Neri
4.00 p.m. - 5.30 p.m.
At the De Lorenzi - Zordan Organ (1835-95) Margherita Dalla Vecchia, Ruggero Livieri, Stefano Molardi, Enrico Viccardi and the very young Federico Rigoni and Giacomo Scremin<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Margherita Dalla Vecchia
Ruggero Livieri
Stefano Molardi
Enrico Viccardi
Federico Rigoni
Giacomo Scremin<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n \n On-site\n <\/span>\n\n
\n \n 17/03/2024 19:00 CET\n <\/small>\n <\/p>\n\n
\n Buon Compleanno Bach in memoria Michael Radulescu\n <\/h3>\n\n \n Associazione Mousike Vicenza\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
Vicenza Cathedral 7 p.m.

Epiphaniai (1988) by Michael Radulescu for organ and percussion

organist Pier Damiano Peretti, percussionist Alessandro Zucchi

with an intervention by Msgr. Roberto Tommasi<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Pier Damiano Peretti
Alessandro Zucchi <\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n \n Online and On-site\n <\/span>\n\n
\n \n 21/03/2024 19:15 CET\n <\/small>\n <\/p>\n\n
\n Suoni antichi: emozioni senza tempo. Concerto dell'Ensemble Lilia Campi\n <\/h3>\n\n \n Casa della Musica di Paternò - Parrocchia S.Maria dell'Alto\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
Concert with music by J. Krebs, C. Ph. E. Bach, Playford, Caccini, Purcell<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Concert by the Lilia Campi Ensemble: Tiziana Coniglio (baroque violin),Simone Lo Castro (countertenor),Rosaria Politi (harpsichord), Salvatore Coniglio (harpsichord and viola da gamba)<\/div>\n <\/div>\n\n
\n\n
YouTube<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"The$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 19:00 CET (21/03/2024 19:00 CET)\n <\/small>\n <\/p>\n\n
\n The Future of the Past｜Hommage à Sara Levy\n <\/h3>\n\n \n ensemble freymut\n <\/span>\n\n \n Austria<\/strong>\n <\/span>\n\n \n
The central figure is a Jewish harpsichordist who experienced three stylistic eras and left to posterity a collection of musical treasures of immeasurable value. Without the remarkable patronage of Sara Levy in her Berlin salon, the Bach Renaissance under Felix Mendelssohn would have looked very different. The mysterious traces of two trio sonatas by Bach\'s son, Wilhelm Friedemann, lead ensemble freymut<\/a> to the extraordinarily fascinating life story of the Berlin musician and patron Sara Levy.

In her Berlin salon, where famous contemporaries such as Felix and Fanny Mendelssohn, E. T. A. Hoffmann, and Bettina Brentano were guests, Levy also paid tribute to her great passion for the music of Johann Sebastian Bach. To illustrate Sara Levy\'s forgotten role in history, a concert programme was developed in collaboration with the Spanish composer Daniel Serrano<\/a>, honoring the harpsichordist in an unique way. The Andalusian composer draws compositional ideas from Sara Levy\'s collection for a tribute to the famous musician and patron, resulting in a contemporary suite for four instruments—a musical adventure that immediately touches and makes music an open sonic space across centuries. <\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
ensemble freymut

Elisabeth Vestemian, Ching-Yao Wang｜Baroque Flutes
Maria Danneberg｜Viola da Gamba
Sobin Jo｜Harpsichord<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Medievalisms\"$ \n <\/div>\n <\/div>\n\n
\n \n Online\n <\/span>\n\n
\n \n 20/03/2024 10:00 CET (20/03/2024 10:00 CET)\n <\/small>\n <\/p>\n\n
\n Medievalisms\n <\/h3>\n\n \n Martine Mussies\n <\/span>\n\n \n Netherlands<\/strong>\n <\/span>\n\n \n
Somewhere in late October ‘23 my harpsichord teacher (yup, that is the enigmatic ‘merchant of music and stories’ from my book!) had a surprise for me: a collection of lute tablature, by a composer named Adrian Le Roy (c.1520–1598). It did not take long before I was hooked. Hours on end, I spend transcribing and arranging the pieces for some of the instruments I have at home. Now, it feels only natural that I would share these recordings with you as well! It is my aim and hope to show how fresh and relevant this repertoire still is, and to encourage other (amateur) players to try these pieces themselves. <\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Martine Mussies<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 20:30 CET\n <\/small>\n <\/p>\n\n
\n Buon Compleanno Bach\n <\/h3>\n\n \n Margherita Dalla Vecchia \n <\/span>\n\n \n Norway<\/strong>\n <\/span>\n\n \n
J.S. Bach Motet BWV 229, Cantata BWV 131, G. Allegri Miserere for 9 voices
Il Teatro Armonico, vocal and instrumental ensemble, Margherita Dalla Vecchia, conductor<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Il Teatro Armonico
Margherita Dalla Vecchia <\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Into$ \n <\/div>\n <\/div>\n\n
\n \n Online\n <\/span>\n\n
\n \n 21/03/2024 12:00 GMT (21/03/2024 13:00 CET)\n <\/small>\n <\/p>\n\n
\n Into the Melting Pot - The Telling\n <\/h3>\n\n \n The Telling\n <\/span>\n\n \n United Kingdom<\/strong>\n <\/span>\n\n \n
★★★★<\/div>
\"an inspiring, affirming and powerful piece of writing (and my favourite so far of The Telling’s work)\"<\/em><\/div>LouReviews, Louise Penn October 2022<\/span><\/a>

Spain, 1492. At twilight on her final night in Seville, a Jewish woman lights the lamps. She is being forced to leave Spain and set sail for an uncertain future. Her story echoes down the ages to the personal stories of people affected by politics and war today. She tunes into voices of a community of Jewish, Christian and Muslim women from across the Spanish peninsula.

Down the centuries, women’s stories of integration, love, the rich cultural heritage of the Spanish peninsula and racial intolerance are played out to a soundtrack of plaintive Sephardic songs and lively medieval music.

It costs just £5.99 to stream the film until 24 March 2024.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Suzanne Ahmet, actor as Blanca
Clare Norburn, voice
Maya Levy, voice
Emily Baines, recorders
Giles Lewin, oud
Joy Smith, harp & percussion

Nicholas Renton, director
Clare Norburn, writer & producer
Natalie Rowland, lighting designer
Ignacio Lusardi Monteverde, camera
Ethan Lieber, actor sound recording
Ignacio Lusardi Monteverde, music sound recording
Ignacio Lusardi Monteverde audio & visual editor<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Ritratto$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 23/03/2024 19:30 CET\n <\/small>\n <\/p>\n\n
\n Ritratto dell’amore\n <\/h3>\n\n \n Vivianne Caragea \n <\/span>\n\n \n Switzerland<\/strong>\n <\/span>\n\n \n
Concert dedicated to love stories throughout the history of the arts, a project by Vivianne Caragea (traverso) and Sergio Flores (harpsichord).

Ritratto dell’amore is not merely a performance; it\'s an invitation to exercise your imagination, to feel the emotions embedded in the notes, and to connect with the timeless tales of love that have echoed through the ages. Join us for an evening where music transcends boundaries, and the essence of love is beautifully expressed through the harmonies of the baroque era.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Vivianne Caragea – Traverso
Sergio Flores – Harpsichord <\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Abendmusik\"$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 24/03/2024 18:30 EET (24/03/2024 17:30 CET)\n <\/small>\n <\/p>\n\n
\n Abendmusik\n <\/h3>\n\n \n De Profundis Ensemble\n <\/span>\n\n \n Greece<\/strong>\n <\/span>\n\n \n
De Profundis is an ensemble, which consists of young musicians, trained in classical music, who are inspired and driven about sharing their music with people and familiarizing the audience with baroque music. The ensemble established the ‘Abendmusik’ music evenings in the German Evangelical Church, in 2021 and has since performed rarely played or forgotten baroque pieces of great beauty with significant Greek soloists.

<\/div>
On Sunday, March 24th, Iris Louka will be presenting the Violin Concerto in G minor by Antonio Vivaldi. The program will also include the Concerto Grosso in G minor by the same composer.

Antonio Lucio Vivaldi (1678-1741)

Concerto grosso in g minor, Op. 3, Nr.2, RV 578

Adagio e spiccato
Allegro
Larghetto
Allegro

Violin concerto in g minor, Op. 12, Nr. 1, RV 317

Allegro
Adagio
Allegro

<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Kantor-Artistic Director: Chris Paraskevopoulos

Solo: Iris Louka

De Profundis Ensemble:

Violin I: Elias Gyftonikolos, Zoe Prokopiou
Violin II: Konstantina Balla, Chrysi Tzavla
Viola: Eleni Fourlanou
Violoncello: Myrto Xirouchaki
Double Bass: Giorgos Ntanis <\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n\n
Facebook<\/a><\/li>\n\n
Instagram<\/a><\/li>\n\n
YouTube<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Éxtasis$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 23/03/2024 20:00 CET\n <\/small>\n <\/p>\n\n
\n Éxtasis a lo divino\n <\/h3>\n\n \n Red de Teatros de la comunidad de Madrid\n <\/span>\n\n \n Spain<\/strong>\n <\/span>\n\n \n
Spanish Golden\'s age religious music: Francisco Guerrero, Tomás Luis de Victoria, Antonio de Cabezón... Together with Santa Teresa of Jesus poetry.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Piacere dei Traversi:
Carmen Botella, soprano and recitation
Laura Palomar, Fernanda Teixerira and Marisa Esparza, Renaissance transverse flutes<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Maratona$ \n <\/div>\n <\/div>\n\n
\n \n Online\n <\/span>\n\n
\n \n 20/03/2024 09:00 CET\n <\/small>\n <\/p>\n\n
\n Maratona Bach\n <\/h3>\n\n \n Liceo delle Scienze Umane e Musicale "S. Rosa da Viterbo"\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
Concert 4 hours long with the students of Liceo Musicale \"S. Rosa da Viterbo\", live from our concert hall.
Each student or group will play a piece by J. S. Bach.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Students of Liceo Musicale \"S. Rosa da Viterbo\"<\/div>\n <\/div>\n\n
\n\n
YouTube<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Ārt$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 20:00 CET\n <\/small>\n <\/p>\n\n
\n Ārt House Social - Fetish Baroque\n <\/h3>\n\n \n ĀRT HOUSE - Beiträge zu Verständnis und Fortschritt von Kunst und Kultur\n <\/span>\n\n \n Austria<\/strong>\n <\/span>\n\n
\n
In the name of diversity and inclusion<\/strong> we bring our music to the people we love. In the discursive format of the Ārt House Social, we\'ll bring on easy listening baroque<\/strong>, talk about fetish theory, and engage with a new audience at the queer bar in Graz.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Thomas Höft<\/strong>, host \"come sit with us\"
Michael Hell<\/strong>, host & harpsichord
Georg Kroneis<\/strong>, host & viola da gamba
Maria Kubizek<\/strong>, violin
Yanet Infanzon<\/strong>, violin<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"New$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 13:00 EET (21/03/2024 12:00 CET)\n <\/small>\n <\/p>\n\n
\n New Hopes of Early music\n <\/h3>\n\n \n Cultural organisation Ensemble Nylandia ry\n <\/span>\n\n \n Finland<\/strong>\n <\/span>\n\n \n
Early music students perform at a lunch concert at Rikhardinkatu library Book tower. In connection with the concert, the Finnish Association for Early Music will present the Early Music 2023 recognition award, the recipient of which has been chosen by music editor Risto Nordell based on a pre-selection by the board of the Association for Early Music. <\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Sofia Fernholm, harpsichord
Ester Nurminen, baroque cello<\/div>\n <\/div>\n\n
\n\n
www.cafebarock.com<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Concerto$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 20:30 CET\n <\/small>\n <\/p>\n\n
\n Concerto di Quaresima \n <\/h3>\n\n \n Conservatorio di Musica Giuseppe Verdi di Milano\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
Johann Sebastian Bach, Mein Herze schwimmt in Blut BWV 199 <\/div>
Mein Gott, wie lang, ach lange BWV 155 <\/div>
Ich habe genug BWV 82 <\/div>

<\/div>
<\/div>

<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Rosalba Ducato soprano
Carmen Budau soprano
Giulietta Teani mezzo-soprano
Alessandro Vianelli tenor
Marco Pangallo baritone
Vocal and instrumental ensemble of the Milan Conservatory
Luca Oberti conductor<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Wien$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 22/03/2024 19:00 CET (22/03/2024 19:00 CET)\n <\/small>\n <\/p>\n\n
\n Wien 1900 \n <\/h3>\n\n \n Fanny Davies Ensemble\n <\/span>\n\n \n Switzerland<\/strong>\n <\/span>\n\n
\n
WIEN 1900<\/strong><\/div>
Music by composers from the Viennese salons (including works by women composers)<\/strong>
Concert to celebrate the beginning of spring and the Day of Early Music! Co-organised together with REMA<\/strong>.

FANNY DAVIES Ensemble<\/strong>, Sebastian Bausch & Laura Granero

On two Bösendorfer grand pianos<\/strong> (historical Viennese action from 1908 and Disklavier reproduction grand piano) - historical piano rolls (including rolls by women pianists) and live performances.
Some names of the pianists / composers: Mahler, Grünfeld, Davies, Strauss, Brahms...
<\/strong>
~

Only<\/strong> with reservation<\/strong> in advance (only 30 seats!!!)
email <\/strong>to:
fannydaviesensemble@gmail.com <\/em>
or by phone <\/strong>(WhatsApp and SMS also possible):
+41 77 404 22 48

~

Tickets <\/strong>(concert + glass of wine; dinner not included)
30CHF standard
20CHF Students
10CHF Children and young people under 18

~

Further information<\/strong>
Glass of wine after the concert in the Atelier. We will feature a bottle of wine of a cellar run by women.
Around 9.15 pm we will have dinner at the Restaurant Bottmingermühle. If you would like to join us for dinner <\/strong>after the concert, please let us know.
~
Our new project, based at the Klavieratelier Binningen, will be presented online the day before (21st of March 2024), in a separate event, including a small presentation of the concert for those who cannot attend in person.<\/div>\n <\/div>\n\n \n Musicians<\/span>\n
FANNY DAVIES Ensemble<\/strong>
Laura Granero & Sebastian Bausch
Piano rolls of pianists or composers-pianists of the past<\/div>\n <\/div>\n\n
\n\n
TICKETS<\/a><\/li>\n\n
KLAVIERATELIER<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Vespers$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 20:30 CET\n <\/small>\n <\/p>\n\n
\n Vespers of Sor Josefa Pujante: musics for a convent\n <\/h3>\n\n \n XXIII Semana de Música Religiosa de Hellín\n <\/span>\n\n \n Spain<\/strong>\n <\/span>\n\n
\n
DeMusica Ensemble <\/strong>is an all-female vocal ensemble created in 2009 by Dr. Mª Ángeles Zapata with the aim to rescue and disseminate the work of women composers and performers.

<\/div>
The program is based on music manuscripts from female convents of Spain. This concert recreates the music of the vespers of Saint Peter<\/strong> composed by the Dominican nun Sor Josefa Pujante<\/strong>, found in the Monastery of Saint Ana of Murcia. Plainchant and polyphony are combined and performed using an all- female ensemble of voices and instruments.

<\/div>The concert is a tribute to all women who developed their music behind the walls of a convent, and have remained hidden for centuries. It is part of the research project “Sounds of Silence: music in women’s cloisters<\/em>”, funded by the City Council of Murcia and the City Museum.

<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
DeMusica Ensemble
<\/strong>
<\/div>
Susana Almazán Gil, voice<\/em>
Elena Escobar Munuera, voice<\/em>
Eva Gloria Sánchez Munuera, voice<\/em>
Abigail R. Horro, voice<\/em>
Nuria Díez Latorre, voice<\/em>

<\/div>
Sonia Rabasa, cornetto<\/em><\/div>
Mª José Pinilla Paz-Peñuelas, sackbut<\/em><\/div>
Meritxell Ferrer Quiñoneros, dulcian<\/em>

<\/div>
Mª Ángeles Zapata Castillo, voice and direction<\/em>

<\/div>\n <\/div>\n\n
\n\n
https://demusicaensemble.com<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"The$ \n <\/div>\n <\/div>\n\n
\n \n Online\n <\/span>\n\n
\n \n 21/03/2024 20:00 CET\n <\/small>\n <\/p>\n\n
\n The business of music: two enterprising musicians in 16th century Antwerp\n <\/h3>\n\n \n AMUZ (Flanders Festival Antwerp)\n <\/span>\n\n \n Belgium<\/strong>\n <\/span>\n\n \n
The storytellers of Comet Musicke present the tale of Georges Lohoys and Jean Hobreau. These two men set up a partnership in Antwerp on 20 March 1541. They provided music for festivities and gave music and dance lessons. Léon de Burbure, who explored the archives of the Cathedral of Our Lady and the city in the 19th century, recounted their lives in Deux virtuoses à Anvers<\/em> (1880).

Comet Musicke reconstructs the music chosen for one of Lohoys’ and Hobreau’s festivals: from works by local, Antwerp-based composers to French music, with lighter pieces and more serious chansons, vocal and instrumental works, older music such as that by Obrecht and Josquin and newer music from the various editions of the Musyck boexken<\/em> or Souterliedekens <\/em>by the music publisher Tielman Susato. There will also be music by Baston, Lassus, Barbe and Waelrant. Breathe in the atmosphere of a 16th century musical festival in Antwerp!

<\/div>Performance during Laus Polyphoniae 2023 (AMUZ, Flanders Festival Antwerp)<\/em> <\/div>\n <\/div>\n\n \n Musicians<\/span>\n
<\/div>
Comet Musicke<\/strong><\/div>
<\/div>\n <\/div>\n\n
\n\n
https://amuz.be/en/comet-musicke-lohoys-hobreau/<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Café$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 24/03/2024 15:00 EET (24/03/2024 14:00 CET)\n <\/small>\n <\/p>\n\n
\n Café Barock at Universum: Leçons de ténèbres\n <\/h3>\n\n \n Cultural Organisation Ensemble Nylandia ry \n <\/span>\n\n \n Finland<\/strong>\n <\/span>\n\n \n
The Leçons de ténèbres are based on the Lamentations of Jeremiah in the Old Testament, which were read on the three days between Jesus\' death and resurrection, three for each day. François Couperin composed three \"lessons\" for Easter Wednesday, Maundy Thursday and Good Friday, but only three Leçons de Ténèbre completed for Wednesday have survived, which Couperin composed for two voices and continuo. Each Latin verse is preceded by a melisma from the first letter of the Hebrew text. The work mourns the destruction of Jerusalem and is one of the most significant works of the French Baroque. In addition, the concert will include Couperin\'s gentle melancholy music from his series no.2 for viola da gamba and continuo.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Elina Rantamäki, soprano
Anna-Maaria Oramo, mezzo-soprano
Johanna Randvere, viola da gamba
Laura Ollberg-Ekman, organ<\/div>\n <\/div>\n\n
\n\n
www.cafebarock.com<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Early$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 23/03/2024 12:00 EET (23/03/2024 11:00 CET)\n <\/small>\n <\/p>\n\n
\n Early Music Day in Palace of the Grand Dukes of Lithuania\n <\/h3>\n\n \n National Museum - Palace of the Grand Dukes of Lithuania\n <\/span>\n\n \n Lithuania<\/strong>\n <\/span>\n\n
\n
12.00-14.12 Opera viewing<\/strong><\/div>
Marc-Antoine Charpentier<\/div>
David et Jonathas<\/em><\/strong><\/div>
2022 m. Château de Versailles Spectacles<\/em> / Camera Lucida co-production<\/em><\/div>

14.00–16.00 Concert<\/strong>
LMTA Erasmus BIP course project \'Early Music Week\' closing concert

19.00 Oratory<\/strong> <\/div>
Alessandro Scarlatti (1660–1725)<\/div>
Sanctus Casimirus re di Polonia<\/em>, 1705<\/div>
<\/div>

<\/div>\n <\/div>\n\n\n
\n\n
https://www.valdovurumai.lt/lt/renginiai/i/8757/senosios-muzikos-diena-valdovu-rumuose/<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Musiche$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 23/03/2024 17:30 CET (23/03/2024 17:30 CET)\n <\/small>\n <\/p>\n\n
\n Musiche di varia sorte\n <\/h3>\n\n \n Museo internazionale e biblioteca della musica di Bologna - Ensemble La Misticanza\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
La Misticanza offers a misticanza of music from Italy and England: passing through different styles, symphonies, ballets and moments of improvisation you\'ll traverse from the late 16th century to the end of the 17th century. <\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Ensemble La Misticanza with Anna Fusek
Anna Fusek flauti dolci, violino <\/div>
Davide Gazzato arciliuto, flauto, percussioni <\/div>
Marco Casonato viola da gamba <\/div>
Gianluca Geremia tiorba, percussioni <\/div>\n <\/div>\n\n
\n\n
Instagram<\/a><\/li>\n\n
Facebook<\/a><\/li>\n\n
Concert info<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"J.S.$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 23/03/2024 16:34 CET\n <\/small>\n <\/p>\n\n
\n J.S. Bach - Johannes - Passion BWV 245\n <\/h3>\n\n \n Magnificat Choir & Consort\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
Johannes - Passion BWV 245 for Choir, Solos and Orchestra<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Magnificat Choir & Consort, DIR. Massimo Grechi<\/div>\n <\/div>\n\n
\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"The$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 23/03/2024 18:00 CET\n <\/small>\n <\/p>\n\n
\n The Respectable House - Kohlmarkt 11 The big Michaelerhouse and its illustrious inhabitants\n <\/h3>\n\n \n Haydnregion Lower Austria, Römerland Carnuntum\n <\/span>\n\n \n Austria<\/strong>\n <\/span>\n\n
\n
The young Joseph Haydn lived in \"The big Michaelerhaus\" from 1751-1756 opposite from Wienna Hofburg. His neighbours were the famous Pietro Metastasio, members of the family of Marianna Martines, the italian composer Nicola Porpora and the widow Princess Maria Oktavia Ezsterhazy.

Curious stories from these kind of neighbourhood with Pleyel-Klaviertrio and the public favorite Chris Pichler.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Pleyel-Klaviertrio:
Cornelia Löscher Violine
Arne Kircher Cello
Varvara Manukyan Harpsichord/Fortepiano

Barbara Kiebel-Vock Violine
Herwig Neugebauer Violone
Chris Pichler Resitation<\/div>\n <\/div>\n\n
\n\n
https://www.haydngeburtshaus.at/<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"MUSIK$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/0004 18:30 LMT\n <\/small>\n <\/p>\n\n
\n MUSIK DER RENAISSANCE (MUSIC OF THE RENAISSANCE)\n <\/h3>\n\n \n Gabor Sarai\n <\/span>\n\n \n Germany<\/strong>\n <\/span>\n\n \n
A concert with works by old masters such as Isaac, Josquin, Senfl, Attaingnant, Susato, Bassano, Dowland.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Lecturers in the early music department of the Dithmarscher music school:<\/div>
Gabor Sarai
Fumie Shikichi-Sarai
Martin Schmitt
and music school students<\/div>\n <\/div>\n\n
\n\n
https://www.dithmarscher-musikschule.de/ensembles/alte-musik/<\/a><\/li>\n\n
https://www.kirche-meldorf.de<\/a><\/li>\n\n
https://www.friedhof-meldorf.de<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Suoni$ \n <\/div>\n <\/div>\n\n
\n \n Online\n <\/span>\n\n
\n \n 21/03/2024 16:30 CET (21/03/2024 16:30 CET)\n <\/small>\n <\/p>\n\n
\n Suoni nei Palazzi della Superba\n <\/h3>\n\n \n Liceo Musicale Sandro Pertini Genova\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n
Concert by Liceo students with music by Bah, Rameau, Purcell.
Performance by maestros G.Cortese, S.Bagliano and P.Gaviglio with original period instruments.

<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Mo.Gianenrico Cortese
Mo. Stefano Bagliano

<\/div>\n <\/div>\n\n
\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Marianna$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 23/03/2024 15:30 CET\n <\/small>\n <\/p>\n\n
\n Marianna Martines: Prodigy-Composer-Virtuoso\n <\/h3>\n\n \n Haydnregion Lower Austria, Römerland Carnuntum\n <\/span>\n\n \n Austria<\/strong>\n <\/span>\n\n
\n
Marianna Martines is the famous female pupil of Joseph Haydn.
She is one of the rare example of Female composers at the 18th century.
She was also active as the singer, performer and traslator.
The musicologist and journalist Dr. Irene Suchy did a profound work researching the life and the work of Marianna Martines at the period of Male dominance Viennese Classic. <\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Dr.Irene Suchy (ORF- Ö1)

Music. Varvara Manukyan Fortepaino<\/div>\n <\/div>\n\n
\n\n
https://www.haydngeburtshaus.at/<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Deciphering$ \n <\/div>\n <\/div>\n\n
\n \n Online\n <\/span>\n\n
\n \n 21/03/2024 11:30 CET (21/03/2024 11:30 CET)\n <\/small>\n <\/p>\n\n
\n Deciphering the baroque style\n <\/h3>\n\n \n Concert Le Phénix\n <\/span>\n\n \n Spain<\/strong>\n <\/span>\n\n \n
On-line presentation on baroque performance practice. We will discuss some topics such as rhetorics, musical structure, articulation, punctuation, and ornamentation. Held in Spanish.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Fernando Santiago, cellist and artistic director of Concert Le Phénix.<\/div>\n <\/div>\n\n
\n\n
Instagram<\/a><\/li>\n\n
YouTube<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Early$ \n <\/div>\n <\/div>\n\n
\n \n Online\n <\/span>\n\n
\n \n 21/03/2024 21:00 CET\n <\/small>\n <\/p>\n\n
\n Early Conversations: J. S. Bach\n <\/h3>\n\n \n C. S. Tania Birardi \n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n
\n
J. S. Bach: from the process of assimilating the compositional language of important predecessors and contemporaries to the expression of a sophisticated, authentic and innovative language.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
C. S. Tania Birardi, speaker & harpsichordist<\/div>\n <\/div>\n\n
\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Il$ \n <\/div>\n <\/div>\n\n
\n \n Online\n <\/span>\n\n
\n \n 21/03/2024 20:00 CET (21/03/2024 20:00 CET)\n <\/small>\n <\/p>\n\n
\n Il Cimento di Partenope\n <\/h3>\n\n \n Pietà de' Turchini Foundation\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n
\n
Virtuosity and experimentation between Naples and Europe<\/strong>
The program aims to bring attention back to the still little-known tradition of the violin concerto in Naples and to highlight the distinctive features of the Neapolitan instrumental tradition, somewhere between exalted virtuosity and daring experimentalism. The program not only has important historical salvage value, but also manages to excite and engage the audience\'s attention.

Angelo Ragazzi <\/strong>(Naples 1680 - Wien 1750)
Concerto a quattro con ripieni in G minor for strings
Adagio, Allegro, Adagio-Allegro-Adagio, Allegro<\/em>

Nicola Antonio Giacinto Porpora<\/strong> (Naples 1686 - Naples 1768)
Concerto for cello and strings in G major
Adagio, Allegro, Adagio, Allegro<\/em>

Nicola Matteis Jr<\/strong> (after 1670 - Wien 1737)
Sonata for two violins, cello and basso continuo in G minor
Grave-Prealudium, Presto, Adagio, Sarabande, Gavotte, Largo, Gigue<\/em>

Emanuele Barbella<\/strong> (Naples 1718 - Naples 1777)
Concertone for solo violin with violins, viola and bass in G minor
In tempo giusto, Largo e staccato di molto e fortissimo, Allegro andante alla polacca<\/em>

Francesco Scarlatti<\/strong> (Palermo 1666 - Dublin 1741)
Concerto No. 8 in F major for strings
Allegro, Largo-[Allegro], Larghetto, Allegro<\/em><\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Elisa Citterio <\/strong>violin<\/em>
Catherine Jones<\/strong> cello<\/em>

Stefano Demicheli<\/strong> harpsichord and conducting<\/em>

Talenti Vulcanici<\/strong>
Monika Toth violin<\/em>
Katarzyna Solecka violin<\/em>
Raffaele Nicoletti violin<\/em>
Andrea Beatriz Lizarraga violin<\/em>
Isabel Soteras Valenti violin<\/em>
Maria Bocelli viola<\/em>
Filippo Bergo viola<\/em>
Cristina Vidoni cello<\/em>
Federico Bagnasco double bass<\/em>
Juan Jose Francione theorbo<\/em>
Davor Krkljus organ

<\/em>Musicology consulting by Guido Olivieri<\/strong><\/div>\n <\/div>\n\n
\n\n
TurchiniLive<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Sweet,$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 20/03/2024 13:15 GMT (20/03/2024 14:15 CET)\n <\/small>\n <\/p>\n\n
\n Sweet, Stay a While\n <\/h3>\n\n \n St Dunstan-in-the-West\n <\/span>\n\n \n United Kingdom<\/strong>\n <\/span>\n\n \n
Recital of 17th century lute-songs commemorating the 400th anniversary of John Donne\'s becoming vicar of St Dunstan-in-the-West. Songs based on Donne\'s texts, composed by Dowland, Coprario, Ferrabosco, and more, sprinkled with poetry readings.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Timea Gazdag, soprano
Ignacy Gołąb, lute
Esha Neogy, bass viol<\/div>\n <\/div>\n\n
\n\n
https://www.stdunstaninthewest.org/services-and-events<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n \n Online and On-site\n <\/span>\n\n
\n \n 22/03/2024 19:00 CET (22/03/2024 19:00 CET)\n <\/small>\n <\/p>\n\n
\n 20. Bachwoche | LUDI MUSICI // 1621\n <\/h3>\n\n \n AS TIME GOES BY - A NEW CONSORT OF MUSIC\n <\/span>\n\n \n Austria<\/strong>\n <\/span>\n\n \n
Instrumental music from the beginning of the 17th century

<\/div>
At the beginning of the 17th century, a large number of musicians undertook hundreds of kilometers of arduous travel to train with and be inspired by the esteemed “Orpheus of Amsterdam” Jan Pieterszoon Sweelinck, the organist, improviser and composer at the Oude Kerk in Amsterdam.
This profound influence can be found in our program along with the contrapuntally artistic, expressively magnificent and profoundly melancholic works from the emerging composers.
The true meaning of the collection of dances by Samuel Scheidt titled Ludi Musicis from 1621 were pertaining to the true minstrels and virtuosos of the time- namely the composers themselves.

AS TIME GOES BY – A NEW CONSORT OF MUSIC is passionate about the jewels of consort music for recorders from the 16th and 17th centuries. The Vienna-based ensemble plays on a variety of recorders based on historical replicas in different sizes.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Luca Anna Várhelyi, Eunsol Lee, Barbora Špelinová, Stefan Tokár, Carsten Eckert - recorder<\/div>\n <\/div>\n\n
\n\n
YouTube<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Kharkiv-Bach-Marathon-2024\"$ \n <\/div>\n <\/div>\n\n
\n \n Online\n <\/span>\n\n
\n \n 21/03/2024 09:00 EET (21/03/2024 08:00 CET)\n <\/small>\n <\/p>\n\n
\n Kharkiv-Bach-Marathon-2024\n <\/h3>\n\n \n Kharkiv I.P.Kotlyarevsky National University of Arts\n <\/span>\n\n \n Ukraine<\/strong>\n <\/span>\n\n \n
The goal of the online-marathon (9.00-17.00) is to present recordings of Bach\'s works in various interpretations and for different ensembles (vocal, cymbals, accordion, choir, piano, violin), including recordings made during the war in Ukraine in 2022-2023, in the destroyed buildings of Kharkiv. During each hour, one recording will be streamed on the official Facebook page of the university of arts. Students, graduates, and professors of the Kharkiv Kotlyarevsky National University of Arts are participating.<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Marko Topchii (guitar), Mychaylo Kuzba (chimbalon), Igor Chernyavsky (violin), Yakiv Voskoboynikov (piano), Yurii Suchlenko (piano), Olha Dotsenko (harpsichord), Kotlyarevsky-choir and other.<\/div>\n <\/div>\n\n
\n\n
Facebook<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Concert$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 19:00 EET (21/03/2024 18:00 CET)\n <\/small>\n <\/p>\n\n
\n Concert “Music in the Underground Gallery”\n <\/h3>\n\n \n National Museum - Palace of the Grand Dukes of Lithuania, Lithuanian Academy of Music and Theatre\n <\/span>\n\n \n Lithuania<\/strong>\n <\/span>\n\n \n
Joining the global initiative “Bach in the Subways” and the European Day of Early Music, which commemorates the birthday of Baroque composer Johann Sebastian Bach, we invite you to a concert of early music in an unconventional space - in the underground gallery-corridor and 1st-floor lobby of Vilnius TV tower. <\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
The works of Baroque genius J. S. Bach and other composers of that period will be performed by participants and teachers of intensive Erasmus BIP courses “Early Music Week” of the Lithuanian Academy of Music and Theatre - Monta Martinsone (soprano; Latvia, Lithuania), Māris Kupčs (harpsichord; Latvia, Lithuania), Ieva Baltmiškytė (baroque guitar, baroque lute; Lithuania, Belgium).<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Den$ \n <\/div>\n <\/div>\n\n
\n \n Online and On-site\n <\/span>\n\n
\n \n 21/03/2024 19:00 CET (21/03/2024 19:00 CET)\n <\/small>\n <\/p>\n\n
\n Den kungliga dansens strängaspel\n <\/h3>\n\n \n Sundsvalls gitarrfestival \n <\/span>\n\n \n Sweden<\/strong>\n <\/span>\n\n \n
The strings of the royal dance Lutenist Dohyo Sol and friends offer an opening concert with Renaissance and Baroque music for one, two and three lutes with historical dance, flutes and percussion. Join us on an exciting journey on \"the path of the many knotted strings\" in music by, among others, Jean-Baptiste Lully, Giovanni Girolamo Kapsberger and Santiago de Murica. The opening concert in the spirit of early music also draws attention to the fact that March 21 is European Early Music Day!<\/div>

<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Dohyo Sol, teorb, luta, oktavluta<\/div>
Giulia Cantoni, barockgitarr, luta<\/div>
Andres Ahlborg, teorb, luta<\/div>
Göran Månsson, flöjt, slagverk<\/div>
Matilda Larsson, historisk dans<\/div>\n <\/div>\n\n
\n\n
Watch the concert<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Lecture:$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 20/03/2024 18:00 EET (20/03/2024 17:00 CET)\n <\/small>\n <\/p>\n\n
\n Lecture: The Woman and Music of the Early Modern Lithuania\n <\/h3>\n\n \n Lithuanian Academy of Music and Theatre\n <\/span>\n\n \n Lithuania<\/strong>\n <\/span>\n\n \n
The Italian operas presented in Vilnius, the capital of the Grand Duchy of Lithuania, are all about the twists and turns of women\'s lives. These are the stories about Elena, Andromeda, and Circe, set to music and premiered to the nobility in the first half of the 17th century. One of the operas, Circe delusa<\/em>, was performed on the occasion of the royal entry into Vilnius by Marie Louise Gonzaga. Twice a queen, she loved music and patronised the royal chapel more than her second husband. In the Lithuanian-Polish state of that time, there were female singers, works composed or commissioned by women, and important events in the lives of the queens and princesses were celebrated with music dedicated to them.<\/div>\n <\/div>\n\n \n Musicians<\/span>\n
Dr Aleksandra Pister<\/div>\n <\/div>\n\n
\n\n
https://www.facebook.com/events/s/erasmus-bip-kursai-senosios-mu/1103953204089887/?mibextid=9l3rBW<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Early$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 18:00 CET\n <\/small>\n <\/p>\n\n
\n Early Music Day | zamus\n <\/h3>\n\n \n zamus\n <\/span>\n\n \n Germany<\/strong>\n <\/span>\n\n \n
zamus celebrates this Early Music Day, which is also the 339th birthday of Johann Sebastian Bach, with a concert by musicians Cécile Dorchêne, Evgeny Sviridov, Andreas Gilger and Ira Givol as well as the presentation of the zamus: early music festival program (21.-29.5.2024) and talks on current topics in the early music scene.

with musical performances by

Cécile Dorchêne, violin
Evgeny Sviridov, violin
Ira Givol, violoncello
Andreas Gilger, harpsichord<\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Ira Givol, artistic director zamus: early music festival 2024
Sabine Meine, Professor of Historical Musicology HfMT Cologne
Mélanie Froehly, artistic director zamus: center for early music & KGAM e.V.
Richard Lorber, moderator<\/div>\n <\/div>\n\n
\n\n
Website<\/a><\/li>\n <\/ul>\n <\/div>\n <\/div>\n<\/div>\n", { minWidth: 250 });
\n
\n $\"Action!$ \n <\/div>\n <\/div>\n\n
\n \n On-site\n <\/span>\n\n
\n \n 21/03/2024 12:30 EET (21/03/2024 11:30 CET)\n <\/small>\n <\/p>\n\n
\n Action! Brain Battle & Early Music in the corridors of LMTA\n <\/h3>\n\n \n Lithuanian Academy of Music and Theatre\n <\/span>\n\n \n Lithuania<\/strong>\n <\/span>\n\n \n
We invite you to take part in the Early Music Challenge - \"Brain Battle\" ! Test your knowledge, have fun and listen to Early Music live performance in the corridors of Lithuanian Academy of Music and Theatre. <\/div>\n <\/div>\n\n
\n Musicians<\/span>\n
Participants of Erasmus BIP course \"Early Music Week\" LMTA, students & teachers.<\/div>\n <\/div>\n\n
\n\n
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Action! Brain Battle & Early Music in the corridors of LMTA On-site
Lithuanian Academy of Music and Theatre Lithuania
Lithuanian Academy of Music and Theatre, LMTA Building 2, Vilniaus g. 6-2, Vilnius

We invite you to take part in the Early Music Challenge - "Brain Battle" ! Test your knowledge, have fun and listen to Early Music live performance in the corridors of Lithuanian Academy of Music and Theatre.

Musicians
Participants of Erasmus BIP course "Early Music Week" LMTA, students & teachers.

https://www.facebook.com/events/773212151138056/773212154471389/?locale=lt_LT

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Edition 2024

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\n SEI SOLO\n <\/h3>\n\n \n N&B MARETERRA FESTIVAL\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n H.I.F. von BIBERPassacaglia in sol minoreJ.S. BACHSonata n. 1 in sol minore (BWV 1001)Partita n. 2 in re minore (BWV 1004)<\/div>\n <\/div>\n\n

\n Karaoké médiéval\n <\/h3>\n\n \n La Camera delle Lacrime & Clermont Auvergne Opéra\n <\/span>\n\n \n France<\/strong>\n <\/span>\n\n \n Students from the Clermont-Ferrand area join our professional musicians on stage or in the audience to sing medieval songs.<\/div><\/div>\n <\/div>\n\n

\n Grand Tour \n <\/h3>\n\n \n All'Antica Musika\n <\/span>\n\n \n Spain<\/strong>\n <\/span>\n\n \n It is a multidisciplinary scenic proposal that mixes ancient baroque English, French and Italian, music seeking a reunion between the past and the present. <\/div>

\n Ritual\n <\/h3>\n\n \n Fundació Cultural CDM\n <\/span>\n\n \n Spain<\/strong>\n <\/span>\n\n \n Sephardic and Arab-Andalusian chants.<\/div>\n <\/div>\n\n

\n LUDI MUSICI // 1621\n <\/h3>\n\n \n AS TIME GOES BY - A new Consort of Music\n <\/span>\n\n \n Slovakia<\/strong>\n <\/span>\n\n \n Instrumental music from the beginning of the 17th century<\/div>

\n Bach's harpsichord concerts\n <\/h3>\n\n \n Amici della Musica di Padova\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n J.S. Bach: Brandenburg Concerto n. 5 BWV 1050, Concerto BWV 1053, Concerto BWV 1057G.F. Händel: Trio Sonata op. 5 n. 4 HWV 399<\/div>\n <\/div>\n\n

\n Muestra de música barroca\n <\/h3>\n\n \n Conservatorio de Torrelavega\n <\/span>\n\n \n Spain<\/strong>\n <\/span>\n\n \n Baroque music of different styles. Works of François Couperin and Georg Philipp Telemann. Sample of bowed baroque instruments. <\/div>\n <\/div>\n\n

\n DOMENICO SCARLATTI. 16 Sonate\n <\/h3>\n\n \n Grandezze & Meraviglie\n <\/span>\n\n \n Italy<\/strong>\n <\/span>\n\n \n The legendary harpsichordist Stefano Innocenti, a great Italian soloist, offers a selection of splendid sonatas by Domenico Scarlatti. <\/div>\n <\/div>\n\n