Kurzweyl concerts

he program offers an insight into the world of the Mainz Carmelite monastery in the second half of the 15th century. At that time this monastery flourished and a large collection of manuscripts survived until today. Every day prayers were sung, entirely in Latin and according to the Gregorian lament tradition. The “nuns” of the ensemble Contre le Temps create a devotion to the Nativity of the Virgin Mary, Vespers for September 8.

In the serene atmosphere of the monastery, the concert offers a moment for meditation and self-reflection. Where bloody wars are raging outside, this music can be a refuge and inspiration to slow down the passage of time and find peace.

Kurzweyl 1, Sat 23 Sept 11 am, Schmiedenhof

Ensemble Contre le Temps

Amy Farnell, Julia Marty, Cécile Walch, Karin Weston – Vocals

hortly before 1588, Basilius Amerbach, the son of the Basel jurist and humanist Bonifacius, drew up an inventory of some of his family’s most valuable assets. Among the books listed therein are “tütsche liedlin 4 part in gold inbunden”, i.e. four part books, which are today kept in the University Library of Basel under the call number F X 1-4.

The books represent one of the largest surviving handwritten collections of tenor songs. In addition to numerous works by Ludwig Senfl, there are also names of small masters from the wider Basel area (such as Paul Wüst, Sixt Dietrich or Johannes Fuchswild), whose work is known mainly or even exclusively thanks to this tradition.

The first song Ach frowlin zart is of special importance not only because of its position in the manuscripts: it stands for the close friendship between the composer Sixt Dietrich and the probable author of the text, Bonifacius himself.

In addition to well-known monophonic melodies in new polyphonic dress, forgotten gems of German song art are also heard.

Kurzweyl 2, Sat 23 Sept 12 pm, Schmiedenhof

Ensemble Rubens Pink

Mélina Perlein-Féliers, harp; Elizabeth Sommers and Aliénor Wolteche, fiddle; Matthieu Romanens, voice, direction;

aximilian’s mother, Empress Leonora, is said to have passed on her love of chivalric romances to her son. The Nibelungenlied was first recorded around 1200. Emperor Maximilian had the Nibelungenlied written on parchment in 1515 in a beautiful version – known as the “Ambras” Heldenbuch. The scribe gave the book a title that emphasized the main character: “Ditz Puech heysset Chrimhilt” (EN: This book is called Kriemhild).

With a selection of texts from four different Nibelungenlied manuscripts from the years 1200-1515, the ensemble tells the story of Kriemhild.

Kurzweyl 3, Sun 24 Sept, 14:00, Martinskirche

Ensemble Parlamento

Ailen Monti, lute; Holly Scarborough, flutes; Elizabeth Sommers, fidel; Karin Weston, voice

he Ensemble In Cytharis revives a popular duo instrumentation of the 15th century with harp and lute. Keyboard intabulations from different countries in the 15th century contain a colorful repertoire of German, French, and Italian melodies, combining tenor lines from well-known songs with florid counterpoint in the upper voice. These vocal repertoires formed the basis for composers of instrumental music – introductory melodic gestures, cadential ornamentation of the cantus line, rhythmic play between cantus and tenor, and virtuoso fusae passages enrich the music.

The clear articulation of the plectrum lute and the hypnotic snare of the gothic harp with its snare hooks complement each other. A combination of the respective sounds and timbres of the two instruments offers the audience a unique and rare listening experience.

15:30-16:30 Roundtable ” … and today” (only with festival pass)
Musical accompaniment: In Cytharis, Carolin Margraf & Ailen Monti
Haus zum Hohen Dolder, St. Alban-Vorstadt 35