Concerts in 2019
Our offer this year is six concerts for the six evenings of the festival.
Jeremiás próféta siralmai, kézirat, Németország, 1399
22 July, Monday
Orlando Ensemble: The End and the Beginning
Giovanni Pierluigi da Palestrina (c. 1525-1594): Lamentatio, Feria V. in Coena Domini
Orlando di Lasso (c. 1532-1594): Lamentatio Tertia, Primi Diei
William Byrd (c. 1543-1623): The lamentations of Jeremiah (Good Friday)
Joao Lourenco Rebelo (1610-1665): Quomodo Sedet Sola (Lamentatio)
Eric Whitacre (1970-): i carry your heart
The Lamentations of the Prophet Jeremiah, more precisely, some of its verses are part of the liturgy on Holy Thursday, Good Friday and Holy Saturday. The text depicts the fall of Jerusalem in 587 with dramatic sensitivity, as well as the pain of robbing and destroying the temple, and the "hell" of his suffering,. They are the "End".
However, the sincere repentance and the unshakable trust in God - which sometimes shines through the bitter lines, eg. the prayer of the hope of Divine forgiveness - are at least as affecting and heart-breaking. They are the ";Beginning".
For Christians, the image of the destroyed Jerusalem in the verses of the Lamentations has been the metaphor of Christ, suffering from man's sin since the first centuries. The Lamentations composed by Renaissance and Baroque masters can
rarely be heard at concerts.
artistic leader: Pál Vikman
The Orlando Ensemble was founded twenty years ago by eight former high school singers led by Pál Vikman, who is still the artistic director of the choir. Their repertoire's backbone consists of sacred vocal polyphonic pieces from the 14-16th century. A few years ago, the ensemble was expanded to 16 singers, occasionally accompanied by instrumental musicians, now they often perform works composed by mainly Baroque, but also later, even contemporary artists. Besides the performance of the musical pieces, a professional commentary guides the audience in musical styles, ages and the process of music at their own concerts.
23 July, Tuesday
Recercare Régizenei Műhely: "Sire Roi, c’est ma fémme" - the era of French ballads
The planned program includes old French songs, ballads and chansons including beautiful pieces from Machaut, Mangeant, Solage and others. "Most of them have a very stunning story of their own. Some of them rose from the dust of the street into the canon, while others stepped out of Josquin's high-art Renaissance polyphony to the open air, or stepped back and forth between the magnificent aristocratic audience and the gobbler pubs. The origin of L'amour de moy dates back to the 1200s, and Une Jeune Fillette was such a hit that it is impossible not to meet any of its variants today ... "
J. Mangeant: J'estois bien mal'heureuse
G. de Machaut: Douce dame
La Danse de Cleves - basse dance
G. de Machaut: Je vivroie liement
Ch. Ballard: J'avois crú qu'en vous aymant
"Quand je menais mes chevaux boire" - chanson
Solage: Pluseurs gens voy
R. de Bellengues Cardot: Pour une fois
E. DuCaurroy: Fantasie XXX. az "Une jeune fillette" dallamára
Solage: Corps femenin
"Le Roi a fait battre tambour…" - ballada
Cl. Gervaise: Pavane - Gaillarde
G. Ch. de la Tour: Tandis que je m'arreste
G. de Machaut: Honte, paour, doubtance...
Praetorius: Bransle de la Torche
Phalése: Bransle gay
J. Mangeant: J'ay un oyseau
"La fille au roi Louis..." - ballada (G. de Nerval dans le Valois coll.)
A. Boesset: Nos Esprits Libres et Contents
In 2013, Recercare Régizenei Műhely was created with the aim of providing an opportunity so that musicians playing early music in or around Veszprém could think, experiment and perform together. The ensemble was founded by Csaba Nagy, a lute artist who also launched the Veszprém Early Music Days series. Their work was recognized in 2016 by the County Prima Prize. RRM is not only a fixed formation of permanent members, but a kind of real atelier. As a result, the number of members varies depending on what kind of music the group is dealing with. The profile of the atelier is medieval and Renaissance sacred and secular music, as well as the possible interplay between these two areas.
Members of the group:
Magdolna Suda – alto
Nóra Kallai– viola da gamba
Nóra Király– soprano, medieval harp, drum
Árpád Reményi - renessaince lute,, theorbo
Csaba Sipos - drums
Előd Kovács – narration
24 July, Wednesday
Les Basses Réunies (Franciaország): Scarlatti - Boccherini, conversations intimes
In their present project, Les Basses Réunies explores and shares the brilliant music of two Italian expatriates serving at the Spanish court: Domenico Scarlatti, born in Naples in 1685, who spent a significant part of his life there from 1733 until his death in 1757, as a harpsichord teacher of Dauphine Maria Barbara, the later Queen of Spain; and his follower in post, Luigi Boccherini (1743 - 1805), a native of Lucca in Tuscany, who lived there from 1768 to 1785 at the service of the royal family as a music teacher of Dauphin Charles, Prince of Asturias..
Mirroring these two musicians who gained success in Spain may surprise us. The common feature of the two musicians is originality, which makes them difficult to classify ... and sometimes even date. The inventiveness, the search for unique and colourful harmonies combined with unbridled and sometimes whimsical rhythms: everything that contributes to Scarlatti's avant-gardism fits well in with Boccherini's music, which puts virtuosity in the service of a more intimate interpretation with a subtle touch. The two musicians are both sound and instrumental “explorers” and composed a large number of musical pieces dedicated to their important instrument (Scarlatti: 555 harpsichord sonatas, Boccherini: at least 25 sonatas, 12 concertos and 110 quintets with two cellos). Their music has such strong identity that it can be identified among the many 18th-century music compositions. During their exile or rather expatriation by choice (as a tradition of Italians since the Renaissance) not only they spread their own music throughout Europe but also fed on the artistic influences of their host country, thereby participated in the progress and the musical growth of the Enlightenment…
To specify this intimate conversation between the two Madridian musicians "at a distance"; (in time here), a cello cappricio by Joseph Marie Clément Dall'Abaco will be played on its own at the concert. Born into a family of Verona musicians but born in the Netherlands during the exile of his father Evaristo, Joseph Dall'Abaco served the Bonn court during his long life (1710 - 1805). His 11 Capricci discovered recently are outstanding, sometimes enigmatic compositions. The only copy of their manuscript cannot be dated but listening to the capricci of this timeless music one after the other makes us travel in time unexpected, drawing a beautiful and subtle arch between Scarlatti andBoccherini…
After his studies in Tours, Lyon and Paris, Bruno Cocset spent twenty years as an ‘atypical, nomadic cellist’, a period rich in musical encounters and experiences with the most ardent champions of the Baroque scene. His most frequent home bases in those days were Gérard Lesne’s Il Seminario Musicale and Jordi Savall’s Le Concert des Nations and Hespèrion XX-XXI. Bruno Cocset with Les Basses Réunies founded in 1996 are part of the tradition of "historically informed" interpreters. Bruno Cocset gives the Baroque cello its own individual voice, nourished by a constant quest for the perfect synergy of the instrumental and musical gestures. This common work on sonority and organology in-cooperation with the luthier and instrument maker Charles Riché has given birth to twelve instruments, imagined, conceived and played for different concert and recording programmes. Maude Gratton, a companion of the Basses Réunies for several years, Maude Gratton is a talented multi-keyboardist who continues her exploration of repertoires, from the first Baroque pieces to Beethoven. As usual, the choice of instruments of both musicians will be made with attention: a cello by Charles Riché made in 2006 for the first CD Boccherini, an Italian harpsichord by Philippe Humeau, two instruments that have already conquered listeners during their concerts or listening to their CDs.
Members of the group:
Bruno Cocset - Baroque violoncello
Maude Gratton - harpsichord
Emmanuel Jacques - Baroque violoncello
Richard Myron - contrabass
Domanico Scarlatti (1685, Naples - 1757, Madrid)
Luigi Boccherini (1743, Lucca-1805, Madrid)
25 July, Thursday B. Csalog -D. Pétery: J. S. Bach sonatas for flute
J.S.Bach: Sonata in E minor for flute and basso continuo, BWV 1034
J.S.Bach: Prelude and Fugue in A major / Wohltemperiertes Klavier II/19., BWV 888
J.S.Bach: Prelude and Fugue in A minor / Wohltemperiertes Klavier II/20., BWV 889
J.S.Bach: Sonata in A major for flute and harpsichord, BWV 1032
J.S.Bach: Sonata in E major for flute and basso continuo, BWV 1035
J.S.Bach: Prelude and Fugue in F-sharp minor /Wohltemperiertes Klavier II/14., BWV 883
J.S.Bach: Sonata in B minor for flute and harpsichord, BWV 1030
Benedek Csalog- Baroque flute
Dóra Pétery - harpsichord
Benedek Csalog, professor at the Academy of Music in Leipzig, graduated in Barthold Kuijken's Baroque Flute class in Hague. He received very early invitations to the most prestigious European festivals (Innsbruck, Utrecht, Bruges, Musicora Paris) and, at the age of 25, became a teacher of the Early Music Department at Leipzig Music Academy. He held masterclasses in Germany, Portugal, Japan, Brazil, Slovakia, Poland, the Netherlands, Moscow Tchaikovsky Conservatoire and he is a regular guest at Gnyeszin Institute. He holds courses in Budapest on a monthly basis . He has performed in America, most of Europe, Japan, and the Middle East. He taught at Bydgoszcz Academy of Music in Poland and was an art director at Tokyo Old Music Summer University. As a soloist, he won Bruges International Early Music Contest and the Baroque Flute Artist Competition in Orlando. He has made 12 CD recordings, currently, he is working on recording all of J. J. Quantz's flute sonatas, about 200 pieces.
Dóra Pétery began her organ studies at Lilla Szathmáry's course. She studied musicology and organ at Liszt Ferenc Academy of Music, being a student of István Ruppert and János Pálúr she graduated in 2000 as an organist . She was the first candidate to study at Helsinki Sibelius Academy as a clavicordist, and in 2003 she gave her diploma concert as a student of Miklós Spányi. He is currently studying in Hans-Ola Ericsson's solo class in Sweden, while teaching and performing as a soloist and chamber musician.
Johann Sebastian Bach (1685, Eisenach -1750, Leipzig)
26 July, Friday
Virág-Nagy-Szokos: Cello suites, gamba sonatas
J.S. Bach: Cello Suite No. 1 in G major, BWV 1007 - M. Virág
J.S. Bach: Sonata for viola da gamba and harpsichord in G minor, BWV 1029 - R. Nagy, A. Szokos
C.F. Abel: Prelude in D minor, WK 205 - R. Nagy
J.S. Bach:Cello Suite No. 2 in D minor, BWV 1008 - Virág Mátyás
J.S.Bach: Sonata for viola da gamba and harpsichord in D major, BWV 1028 - R. Nagy, A. Szokos
D. Buxtehude: Trio Sonata in D major, BuxWV 267 - R. Nagy, M. Virág, A. Szokos
Mátyás Virág - Baroque violoncello
Réka Nagy - viola da gamba
Augustin Szokos - harpsichord
Mátyás Virág, after graduating from the Academy of Music, was admitted to the Baroque cello class of the Royal Conservatoire in the Hague in 2018. He is currently studying there, while he is also a participant in many early music projects in Budapest.
Réka Nagy has been a student of the Academy of Music since 2014, she started playing the gamba in 2013, and since then she has been a member of the Simplicissimus Ensemble and regularly plays with Custos Consort, led by Sándor Szászvárosi.
Augustin Szokos has been the harpsichord, organ and fortepiano player of Orfeo Orchestra, as well as the chief conductor and harpsichordist of the Budapest Bach Consort since graduation at the Academy of Music in Budapest..
The youngest artists of the festival, though, have performed together on numerous occasions during the past few years, e.g. as members of the Orfeo Orchestra, the Budapest Bach Consort or various occasional chamber formations, this concert will be the first to be given by them as a trio.
J. S. Bach: Cello suite no. 1 in G major
27 July, Saturday
Zs. Cserményi (basso): J.S. Bach solo cantatas
J. S. Bach: Ich habe genug BWV 82
J. S. Bach: Ich will den Kreuzstab gerne tragen BWV 56
Zsombor Cserményi - bass-bariton
Balázs Bozzai, Júlia Rabovay - violin
Adrienn Gyenis - oboe
András Bolyki - viola
Nóra Kallai - violoncello
Dávid Hornyák - contrab
on authentic instruments
Zsombor Cserményi, a 25-year-old bass-bariton, originally a teacher of English and vocal music, was a student of Katalin Pitti and Anikó Falusi. Among others, as a member and soloist of Berzsenyi Dániel Mixed Choir in Szombathely, Pannon Voices Choir in Budapest and Orlando Ensemble, in Veszprém he has had many successful concerts, recordings and taken part in international competitions. He is currently an artist at the National Choir. In his solo carrier, Baroque music is decisive; as well as he performed the works by Johann Sebastian Bach and Bach's contemporaries at Veszprém Early Music Days and the National Székely Mihály Singer Meeting. In 2013, the National Student Theatre Festival he received a special prize and the audience award for performing as King Lear. In 2016, he won a special prize at the National Székely Mihály Singer's Meeting.
Studio of Bellini: The Circumcision of Christ