Cembalo-Abend

The Garden is a musical theater performance after ‘Orlando’ by Virginia Woolf and ‘De Tuin’ by Bert Schierbeek.

There is always a story behind the music: personal story of the composer, story of the creation of the piece, story of the interpreter. There is always a story behind the program, but what if we share the inner story of the interpreter with the audience?

„Let us go, then, exploring, this summer morning, when all are adoring the plum blossom and the bee. And humming and hawing, let us ask of the starling what he may think on the brink of the dustbin, hence he picks among the sticks combings of scullion’s hair. What’s life, we ask, leaning on the farmyard gate; Life, Life, Life! cries the bird, as if he had heard, and knew precisely, what we meant by this bothering prying habit of ours of asking questions indoors and out and peeping and picking at daisies as the way is of writers when they don’t know what to say next. Then they come here, says the bird, and ask me what life is; Life, Life, Life! Having asked then of man and of bird and the insects, for fish, men tell us, who have lived in green caves, solitary for years to hear them speak, never, never say, and so perhaps know what life is—having asked them all and grown no wiser, but only older and colder back we must go and say straight out to the reader who waits a-tiptoe to hear what life is—alas, we don’t know.”

— Virginia Woolf, ‘Orlando’

Program:
John Dowland (ca 1563 – 1626), ‘Come ye heavy states of night’ from the Second Book of Songes, first publication in 1600

William Byrd (ca 1540 – 1623), My Lady Nevell‘s ground from My Ladye Nevells Booke of Virginal Music, ca.1591

John Bull (1562/63 – 1628), English toy, MB 96 in a, from Cosyn Manuscript 1620 – 1652

Élisabeth Jacquet de La Guerre (1665 — 1729), Suite in d Minor from Pièces de clavecin, Livre 1, 1687. Prélude – Allemande – Courante – Sarabande – Gigue

Alexander Voormolen (1895 – 1980), Suite de clavecin, 1921. Ouverture – Gigue – Sicilienne – Toccatina

Improvisation on the theme of Yaman-ragga

Bohdan Syroyid (*1995), Duas Lineas, 2013

Martijn Padding (*1956), One Harpsichord, 2020

György Ligeti (1923 – 2006), Continuum, 1968

Yuri Akbalkan (*1986), Realisation 4f: harpsichord, woodwinds, strings, and noise according to the table No. 1. From Euler’s Book, 2024. World premiere

Wytze Minne de Swart (*1996), Wat Blijft for harpsichord and live electronics, 2023

Ton Bruynèl (1934 – 1998), Le Jardin for woman’s voice, alto flute, cembalo and soundtracks, 1993

Participants:
Constanze Nogueira Negwer, direction, dramaturgy
Debora Colombo, light design
Lucia Wunsch, performer
Lilja Peterson, soprano
Henrike Kathe, alto flute
Adriano Trarbach, baroque cello
Alexander Wiegmann, harpsichord
Elena Khurgina, harpsichord
Wytze Minne de Swart, electronics
Yuri Akbalkan, electronics

Klasse Prof. Menno Van Delft, Prof. Carsten Lohff — Harpsichord;
Prof. Isolde Kittel-Zerer — Basso Continuo;
Prof. Goska Isphording — Contemporary Harpsichord

Eintritt frei

Eine Anmeldung ist notwendig und erfolgt über eventbrite.