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The Baroque music ensemble “Sempre”

The Baroque Music Ensemble SEMPRE was founded in 2020 by harpsichordist Raluca Enea and brings together musicians specialized in the performance of early music. The repertoire primarily focuses on the 18th-century Baroque music, but the concert programs also include pieces from the 17th century and works from the period preceding the Classical era.

The ensemble members are dedicated to authenticity in performance, both in terms of musical style and the use of historically informed instruments (replicas of historical originals), as well as meticulous musicological research. These aspects allow for the exploration of original repertoire concepts. The musicians in the ensemble have specialized in early music at prestigious institutions across Europe and have over 20 years of experience in performing this genre.

The SEMPRE ensemble features a modular structure adaptable to various types of repertoire, ranging from chamber music settings such as duos or trios, to larger orchestral formats. Although relatively recent (2020), the ensemble has been active and has already participated in major national events, including the International George Enescu Festival, the Bucharest Early Music Festival, and the Miercurea-Ciuc Early Music Festival. SEMPRE collaborates with prominent baroque musicians, such as violinist Mira Glodeanu.

Upcoming projects for the ensemble include two collaborations with violinists Petra Müllejans and Martyna Pastuszka, as well as the completion of the audio album “Sempre Vivaldi.”

Recent productions by the ensemble include: “Sempre Vivaldi,” “Haendel vs Haendel,” “Les Caractères,” “Baroque Unknown,” “Sparkling Haendel,” “Bach by Night,” “To B or Not to B,” “Soli e Tutti,” “Sempervivum” (the last two projects were realized together with violinist Mira Glodeanu), and “Black and White: Vivaldi.”

28 Sept, 19:00 hr
Evangelical Church of St. Bartholomew
Sempre Vivaldi

„Sf. M. Mc. Chiriachi” Choire

The Choir “Saint Mucenia Chiriachi” was established in 2019 and is composed of students from the Faculty of Theology in Iași, the “George Enescu” Conservatory, clergy, and students from the Orthodox Theological Seminary “Saint John Chrysostom” in Huși.

In the 6 years since its founding, the choir has actively responded with joy to invitations for feasts and archiepiscopal services within the Huși Diocese and beyond, both nationally and internationally. Part of the choir performs weekly at the Episcopal Cathedral “Saint Apostles Peter and Paul” in Huși. Driven by the desire to support and sustain Byzantine music, the Choir “Saint Mucenia Chiriachi” of the Episcopal Cathedral in Huși contributes to the cultural life of Vaslui County by organizing concerts with various themes and by providing cantors to parishes and monasteries within the Diocese as needed.

In 2022, the choir won the second prize at the Byzantine music competition organized by the “Iași Byzantine Music Festival.” It also participated in the second edition of the event “Days of Romanian Psaltic Singers” organized by the Byzantion Cultural Association. Additionally, the choir received the second prize at the “Hajnowka” Competition Festival held in Bialystok, Poland. International experience was gained through liturgical and cultural activities in Italy, Austria, and Moldova. In 2023, the choir celebrated five years of activity by organizing the National Symposium “The Psaltic Treasure in the Huși Diocese,” during which the musical album “The Psaltic Treasure in the Huși Diocese” was launched. This album includes chants by Huși composers from the 19th and 20th centuries, most of which are found in manuscripts.

Annual activities of the choir include the Psaltic Music Camp at the Bujoreni Monastery (now in its third edition), which gathers renowned psaltes to teach Byzantine music to students from the Orthodox Theological Seminary “Saint John Chrysostom” in Huși, choir members, and children eager to learn church music. Another ongoing activity consists of rehearsals, services, and concerts by the Junior Psaltic Group “Saint Mucenia Chiriachi.”

Currently, twenty-five members are part of the Choir “Saint Mucenia Chiriachi” of the Episcopal Cathedral in Huși. They are conducted by Archdeacon Cosmin-Vlăduț Mironescu.

We warmly invite you to attend the All-Night Vigil!

27 Sept, 20:00 hr
St. Nicholas Church in Scheii Brașovului
The "Byzantion" Choir and the "St. M. Mc. Chiriachi" Choir – Paisian Vigil

Paisian Vigil, inspired by the teachings of Saint Paisius Velichkovsky, emerges as a fascinating synthesis between Byzantine heritage and the Hesychast movement, proposing an intensified contemplative approach to the nocturnal experience. Its emergence coincides with a period of spiritual revival within the Orthodox space, marked by a renewed interest in patristic writings and contemplative prayer practice. This practice, developed during the 18th-century spiritual renaissance, has led to the creation of a form of vigil characterized by its extended duration (10-12 hours), with an emphasis on reading and meditation, entirely dedicated to communion with the divine.

In the complex landscape of contemporary Orthodox spirituality, the Paisian vigil thus creates an expanded temporal space, situated at the intersection of tradition and modernity. This practice, with deep roots in the heritage of Saint Paisius Velichkovsky, continues to exert a significant influence on both monastic and lay life, prompting a reevaluation of the role of contemplative practices in today’s society.

The vigil is made possible also through the participation of two of the most valuable contemporary Byzantine choirs: The Academic Choir “Byzantion” (Iași, Conductor: Adrian Sîrbu) and The “St. M.M. Chiriacchi” Choir (Huşi, Conductor: Archimandrite Vladuț Mironescu).

The “Byzantion“ Academic Choir

The Academic Choir “Byzantion” was formed in 1997 when its members were students at the Orthodox Theological Seminary “Saint Basil the Great” in Iași. After graduating from high school, the group of young theologians passionate about this uplifting music was named Byzantion, a name given by His Beatitude Daniel, the Patriarch of the Romanian Orthodox Church, who was then the Metropolitan of Moldavia and Bukovina.

The Byzantine music ensemble “Byzantion” currently operates in Iași, Romania, under the blessing of His Eminence Teofan, Metropolitan of Moldavia and Bukovina, and under the aegis of the “George Enescu” University of Arts in Iași.

Since 1997, the group has performed numerous concerts in Greece, Denmark, Belgium, the Netherlands, Luxembourg, France, Italy, Poland, Russia, the Czech Republic, Moldova, Germany, Mount Athos, and Romania. They have participated in major sacred music festivals (such as Rencontres Musicales de Vézelay, Rencontres Médiévales de Thoronet, La spiritualité de Torino, Les chansons de nos racines – Jaroslaw, Atlantis du Nord – Olsztyn, Les amis de Santorini, Willibrord 658 – 2008, Przemysl, Pontigny, Plock, Summer School Orthodox Music Festival – St. Petersburg, Brixner Initiative Musik und Kirche “Drama und Liturgie” – Bressanone, Archaion Kallos – Prague, Transylvania Byzantine – Brașov, etc.). Additionally, each year the choir members participate in various feasts of Romanian and Greek monastic settlements on Mount Athos, as well as international symposia, aiming to convey the beauty, complexity, and depth of Byzantine monody through their performances.

After the masterful concert on the evening of September 26, the reunion of the choirs “Byzantion” and “St. M. Mc. Chiriachi” for “Paisian Vigil” will be a highlight of the festival. This concert will provide a profound musical and spiritual experience, bringing the Orthodox musical tradition to life with exceptional interpretation.

Attending this event promises an emotional journey into the realm of sacred sounds.

26 Sept, 19:00 hr
St. Nicholas Church in Scheii Brașovului
Monk Filotheu Bălan alongside the "Byzantion" Choir – Brașovian Psaltichia

In the 18th century, a time when Transylvanians had to fight for their Orthodox faith with life and death stakes, both Sibiu (with its metropolitan see) and Brașov, as well as numerous monasteries throughout Transylvania, can take pride in their renowned psaltes and a repertoire that matched that sung at princely courts and monasteries beyond the mountains. Without exaggeration, we can say that psaltic music played a crucial role in preserving Transylvanian Orthodoxy in the face of political and military pressures. Furthermore, the Orthodox episcopate in Budapest, which served a strong Romanian community, also brought Romanian psaltes and purchased Romanian psaltic manuscripts.

27 Sept, 20:00 hr
St. Nicholas Church in Scheii Brașovului
The "Byzantion" Choir and the "St. M. Mc. Chiriachi" Choir – Paisian Vigil

Paisian Vigil, inspired by the teachings of Saint Paisius Velichkovsky, emerges as a fascinating synthesis between Byzantine heritage and the Hesychast movement, proposing an intensified contemplative approach to the nocturnal experience. Its emergence coincides with a period of spiritual revival within the Orthodox space, marked by a renewed interest in patristic writings and contemplative prayer practice. This practice, developed during the 18th-century spiritual renaissance, has led to the creation of a form of vigil characterized by its extended duration (10-12 hours), with an emphasis on reading and meditation, entirely dedicated to communion with the divine.

In the complex landscape of contemporary Orthodox spirituality, the Paisian vigil thus creates an expanded temporal space, situated at the intersection of tradition and modernity. This practice, with deep roots in the heritage of Saint Paisius Velichkovsky, continues to exert a significant influence on both monastic and lay life, prompting a reevaluation of the role of contemplative practices in today’s society.

The vigil is made possible also through the participation of two of the most valuable contemporary Byzantine choirs: The Academic Choir “Byzantion” (Iași, Conductor: Adrian Sîrbu) and The “St. M.M. Chiriacchi” Choir (Huşi, Conductor: Archimandrite Vladuț Mironescu).

Filotheu Bălan

Filotheu Bălan, a tireless researcher of ancient manuscripts, promises to reveal hidden treasures of Byzantine music and enriches our list of guests. He is renowned for his theological, paleographic, and musicological work. In the field of paleography, he has studied and transcribed ancient manuscripts, uncovering valuable texts for understanding Orthodox tradition. His musicological work has involved researching and preserving traditional church music, having a lasting impact on theological studies and the revitalization of spiritual and cultural heritage.

Filotheu Bălan, alongside the renowned “Byzantion” Choir, will unveil the beauty and depth of Byzantine music at our festival. Their program, “Psaltichia Brașoveană,” promises an unforgettable spiritual and cultural experience, highlighting the Orthodox musical tradition and its rich history.

This concert is set to be a sonic journey into the heart of Eastern spirituality.

26 Sept, 19:00 hr
St. Nicholas Church in Scheii Brașovului
Monk Filotheu Bălan alongside the "Byzantion" Choir – Brașovian Psaltichia

Emilio Villalba and the “Cantica” Ensemble

The ensemble Cantica is composed of musicians specialized in the study, recovery, and dissemination of historical music and instruments, particularly from the period spanning the 11th to the 16th centuries. They have been collaborating for over a decade, engaging in an extensive concert activity throughout Spain and Europe, with medieval music performances that blend theater, narration, and a rich timbral diversity in their interpretations. They have participated in festivals such as Pórtico do Paraíso, FeMÀS, Maremusicum, Festival Sefardí, Noites d’Encanto, IKFEM, Les Heures Musicales, Festival Caprichos Musicales, Festival Tres Culturas, Noches en los Jardines del Real Alcázar, and the Bucharest Early Music Festival, achieving great success both with audiences and critics.

Cantica undertakes several musical projects focusing on Andalusian and Sephardic music, the music of troubadours and medieval knights, as well as educational projects on medieval music for children. The ensemble has released five discographic works: El Doncel del Mar, melodías medievales desde Estambul a Costa da Morte (2014), Música para Princesas, Dragones y Caballeros, música medieval para niños (2015), Al Ándalus, música y poesía andalusí (2017), Sephardica (2019), and La Pequeña Juglaresa (2020). They are currently working on the recording of the album Sephardica.

Emilio Villalba, the founder of the ensemble, was born in Seville in 1976. Emilio Villalba is an artist with multiple talents and an insatiable thirst for knowledge. Nearly every aspect of the cultural products he presents is crafted by him: in addition to his musical activity, he is a talented designer, and all his album covers and posters bear his signature. He also creates graphic and musical content for a variety of applications, video games, and children’s books.

As he recounts, he began his musical journey at the age of four with a small toy piano. Since then, he has been captivated by this “virus,” and today he is passionate about historical instruments and historically informed performances. He can play an impressive collection of over 40 instruments (made in collaboration with various luthiers), especially string instruments, including the Arabic oud, Turkish saz, Celtic harp, hurdy-gurdy, viola da gamba, psaltery, rabel, and many more.

For over nine years, he has collaborated with Sara Marina, with whom he is dedicated to discovering old music, presenting it to a wide audience, and educating the public about historical genres, forms, and instruments. Together, they have produced three discographic releases: Al Andalus, El doncel del mar, and Música para princesas, dragones y caballeros. The latter is dedicated to children, combining the restoration of medieval and Renaissance musical traditions with colorful storytelling and efforts to educate young audiences about old instruments and musical forms.

25 Sept, 19:00 hr
The Brașov Synagogue
Sephardica

„Codex” Ensemble

The Early Music Ensemble “Codex” was founded in 1996, comprised of professors and students from the Music Faculty of “Transilvania” University in Brașov. The ensemble’s primary goal is the interpretation of European classical music from the 15th to the 19th centuries, using period instruments and following the theoretical sources of those times.

The ensemble also focuses on researching classical music from Transylvania and Eastern Europe, as well as European sources related to this region. The members have refined their skills in Baroque performance practice through masterclasses in major European music centers such as Innsbruck, Utrecht, Karlsruhe, Basel, and Budapest.

They have performed numerous concerts both nationally and internationally. In recent years, their focus has shifted to music from Transylvania and Eastern Europe, drawing from important manuscripts such as the Cajoni Codex, the Manuscript of Sfântu Gheorghe, Stephanus Martonffy’s manuscript, the Vietoris Manuscript, and the Levoča manuscript.

Their unique performance style resonates with the modern audience, showcasing a wide range of emotions. Some of their most significant performances have taken place at festivals like the Early Music Festival in Miercurea Ciuc, the Valley of Arts Festival in Hungary, the George Enescu International Festival, the Bucharest Early Music Festival, and the International Chamber Music Festival in Brașov. They have also performed at prestigious festivals in Hungary, France, Italy, and Portugal.

This year, the ensemble was honored with the Hungarian Heritage Award – “Magyar Örökség díj.”

The “Codex” Ensemble frequently performs pieces from the Cajoni Codex, one of their primary sources, striving to rediscover the meaning and spirit of these works and to present them in an engaging way to modern audiences.

Their concert at the Weaver’s Bastion promises to be an immersive experience, blending historical sounds with the medieval atmosphere of the venue.We warmly invite you to join us at this unique concert!

22 Sept, 19:00 hr
The Weavers' Bastion (Bastionul Țesătorilor)
Căianu '395

The concert proposed by the “Codex” Ensemble reflects the multiculturalism and the highly diverse range of musical genres present in Transylvanian cultural life during the 17th century. This year marks the 395th anniversary of the birth of this remarkable figure, providing an excellent reason for the Brașov Early Music Festival to feature a musical tribute dedicated to this multifaceted personality.

Raluca Enea

Raluca Enea is a graduate of the National University of Music Bucharest, where she studied Instrumental Pedagogy (Piano) and Performance (Harpsichord) under Professor Ogneanca Lefterescu. Since 2005, she has continued her harpsichord studies in Germany, under the guidance of professors Harald Hoeren, Glen Wilson, and Ketil Haugsand.

She has attended masterclasses with Menno van Delft (Netherlands), Frédérick Haas (Belgium), Malcolm Bilson (USA), and Ketil Haugsand (Norway), as well as the Sablé Academy courses, studying harpsichord and baroque singing with Françoise Lengellé and Howard Crook, and chamber music with Jan de Winne, Marcel Ponseele, and Hervé Douchy (Belgium). Raluca has performed concerts in Romania, Germany, Norway, and Hungary. She is the founder of the baroque music ensemble SEMPRE, holds a PhD from the National University of Music Bucharest with a dissertation on J.Ph. Rameau’s harpsichord music (supervised by Professor Dana Borșan), and has been a faculty member at both the National University of Music Bucharest and Transilvania University of Brașov.

Raluca Enea, as artistic director of the Bucharest Early Music Festival and coordinator of educational and training projects for early music supported by the Antiqva Cultural Association in Romania, will showcase her harpsichord virtuosity in a solo recital. With the program “Rameau. Le musicien des Rois,” she will reveal the complexity and beauty of French Baroque music, bringing to life the brilliance of Rameau’s compositions.

21 Sept, 19:00 hr
Multicultural Center of Transilvania University
Rameau. Le musicien des Rois

Jean-Philippe Rameau is quintessentially a “musician of kings.” His music was created within the context of the rise of French power. The French monarchy had conquered vast territories in the New World, founded a powerful empire, and established a musical “accompaniment” to match. Rameau composed for a king to whom his subjects attributed all the qualities of ancient Greek deities. His rivals, such as Antoine Forqueray, François Couperin, and Marin Marais, along with his predecessor, the brilliant Jean-Baptiste Lully (the passionate Florentine musician of Louis XIV, the “Sun King”), did the same. All of them composed for a dazzling court, where supreme taste reigned. The monarch was the supreme star, the Sun, Apollo, the god of beauty, serenity, and light, the civilizer of the primitive, “savage” peoples newly conquered. The Baroque period was a cornucopia of abundance in all the arts: music, dance, visual arts, architecture, not to mention fashion, the art of conversation, and even the culinary arts. Even the art of love was elevated to new heights of seduction and pleasure, so much so that Ovid, the ancient poet and author of the treatise Ars amandi, was considered outdated.

To maintain the Court’s splendor and the cult of personality of the extravagant French monarchs, the royal fleet brought the most expensive spices and perfumes, the most precious silks, velvets, and brocades to the ports of the Atlantic and Mediterranean. Splendor and refinement were the words of the age, from the sounds that filled the sumptuous rooms of the Palace of Versailles to the gardens where fountains sang, filling the air with their melodies, alongside fragrances. The art of vocal performance, later enriched with new dimensions by the voices of the “castrati” (such as Farinelli), also remained a point of reference.

The Baroque era set the standard for supreme refinement in all the arts. And Rameau, a musician for two kings, Louis XIV (with his long reign of 72 years) and Louis XV, brought French Baroque music to its highest peaks.

„Trei Parale” Group

The group Trei Parale is truly unique in the Romanian musical landscape. Through its serious, ethnomusicological approach to largely forgotten music—transformed over centuries into something entirely different—the group manages to appeal to a diverse audience, from professionals to amateurs drawn to curiosities with an exotic flavor. The initiator and leader of this project is Florin Iordan, a researcher at the Museum of the Romanian Peasant. He is the one who has set the path the group follows to this day; this approach involves meticulous research of written sources from the era, audio recordings from Edison wax cylinders, and other materials, as well as fieldwork, which forms the basis of every Trei Parale concert.

The group’s activity is rich and varied, including performances at medieval and early music festivals, as well as theater festivals, both in Romania and abroad. They have also appeared in numerous television programs and contributed to the soundtracks of films such as Povestea lui Bucur (directed by Aurelia Mihai, Germany, 2009), Chira Chiralina (directed by Dan Pița, Romania, 2014), and Aferim! (directed by Radu Jude, Romania, 2015).

The leader of Trei Parale, Florin Iordan, is an ethnomusicologist. A graduate of the Faculty of Sociology at the University of Bucharest, he has been employed by the National Museum of the Romanian Peasant since 2003, where he has specialized in ethnomusicology. He has conducted numerous field research studies, focusing on organology, traditional musical professionalism, revivalism, and customs. He contributed to the production and publication of the last 18 CDs in the traditional music series Ethnophonie, published by the National Museum of the Romanian Peasant and the Alexandru Tzigara-Samurcaș Foundation. This series received the “Coup de Coeur” award from the Charles Cros Academy (2005) and the German Critics Award (2006), and included a CD published in Switzerland. Iordan has delivered and published a series of conferences and papers in his field of expertise—ethnomusicology. He has organized or co-organized traditional music concerts (in Romania and Israel), festivals (such as the first edition of the National Folklore Festival, Bucharest, 2006), and other cultural activities.

Iordan’s artistic and research experience is vast. He is the founder and coordinator of the Trei Parale group (2003), in which he performs on various traditional instruments, including Romanian flutes, bagpipes, cobza, zither, and braci. His research focuses on early Romanian music (18th-19th centuries). He has published CDs such as Bazar (2008), Bazar II. Cântări din secolul al XIX-lea (2012), and Ciobanul care și-a pierdut oile (2015). He has given numerous concerts at specialized festivals (medieval and early music festivals), participated in interviews and TV and radio programs, contributed to the soundtracks of Aferim! (2015) and Chira Chiralina (2014), and led traditional music workshops for children, such as Șezătoare cu fluiere și povești.

20 Sept, 20:00 hr
Vulcan's Cultural Center
România. 100 Minutes.
21 Sept, 19:00 hr
Brasov Philharmonic
România. 100 Minutes.

The repertoire of performances making up the “Romania. 100 de minute” project is drawn from early 20th-century folk collections, compiled by the likes of Constantin Brăiloiu, Tiberiu Brediceanu, Béla Bartók, and Dimitrie Vulpian. The group will showcase an astounding variety of instruments on stage: all types of flutes (standard flute, double flute, open-ended flute, caval), Jew’s harp, bagpipes (two different types), zither, dobă (a percussive folk cello) accompanied by cobza, violin, contră, double bass, and various traditional percussion instruments (dairea, drum, bass drum with cymbal). The artistic journey touches upon key elements of traditional Romanian culture: the doina and Miorița, while also presenting the țâpuritura from Oaș, the ballad of Iancu Jianu, the Moldovan drinking song, and love songs.

The program unites music from all the historical provinces that came together 100 years ago during the Great Union, representing various ethnographic regions: Mărginimea Sibiului, Țara Vrancei, Ținutul Buzăului, Alba, Arad, Tulcea, Neamț, Muscel, Olt, Romanați, Suceava, Botoșani, Teleorman, Cluj, Strășeni, Edineț, Cahul (today in the Republic of Moldova), and even beyond the borders (the music of Romanians from Timok-Serbia and Transnistria).

„{oh!} Trio”

The {oh!} trio was formed in 2017 at the initiative of musicians from the {oh!} Orchestra: violinist Martyna Pastuszka, gambist Krzysztof Firlus, and harpsichordist Anna Firlus. The group’s main source of artistic inspiration is French Baroque music, a focus clearly reflected in their discographic achievements to date. Their debut album, Portraits – Les caractères français, released by DUX, received the prestigious Clef d’Or ResMusica award in the Baroque instrumental category. In March 2023, they released a three-disc album of Joseph Marchand’s music under the Aparté label.

The {oh!} trio’s repertoire also includes chamber works by Dietrich Buxtehude, Johann Gottlieb Graun, Johann Schmelzer, and Philipp Heinrich Erlebach, as well as a broad selection of sonatas for solo violin and basso continuo.

The presence of {oh!} Trio at the Brașov Early Music Festival promises to be an unforgettable musical experience. With their program “Marchand Suites,” the ensemble will present the beauty and refinement of French Baroque music to the Brașov audience.

This concert is set to be a revelation for both connoisseurs and those discovering the charm of Baroque music, offering an intimate and deeply moving evening within the impressive setting of one of Brașov’s most beautiful churches.

20 Sept, 18:00 hr
Evangelical Church of St. Bartholomew
Marchand Suites - Martyna Pastuszka și „{oh!} Trio”

In 1707, Joseph Marchand published the seven Suites de pièces mixed with violin sonatas and basso continuo. Now entirely forgotten, Marchand was one of the royal musicians during the reign of Louis XIV, playing the viola da gamba in the prestigious Chapelle Royale, the “orchestra of the 24 violins” (conducted by Jean-Baptiste Lully), and in the Les Petits Violons du Roi. A renowned teacher of his time, he was said to possess a “unique manner of performance.” His Suites were the first in the repertoire to feature the “dangerous” double trill. In certain ways, his music reflects the Italianization of musical tastes, but through the abundance of his musical ideas, the beauty of his harmonies, his virtuosity (especially in the bass parts), and his concern for the balance of form and voices, Marchand is not merely an imitator but rather an heir to the artistry of Marin Marais, Sainte-Colombe, or François Couperin.

Performing on violin, pardessus de viole (the highest-pitched instrument in the viol family), positive organ, viola da gamba, or harpsichord, the trio {oh!} – Martyna Pastuszka and Krzysztof and Anna Firlus – brings to life a gem from the early 18th century with all its poetry and refined expression.

„{oh!} Orkiestra”

The “{oh!} Orkiestra” ensemble was established in 2012 in Silesia, a region in southwestern Poland. The ensemble brings together specialists in the field of historically informed performance and is led by violinist Martyna Pastuszka. In the last decade, the ensemble has established itself as one of the most important orchestras in Europe, exploring a vast repertoire from Baroque music to early 20th century.

The ensemble frequently collaborates with established Polish cultural institutions and festivals, including the Silesian Museum in Katowice, the Polish National Radio Symphony Orchestra (residency since 2015), and the Adam Mickiewicz Institute. For the All’Improvviso Festival in Gliwice, “{oh!} Orkiestra” has presented renowned opera performances over time, and since 2018 has been developing a multi-year partnership with the Fr. Chopin Institute, presenting various classical and romantic programs as part of the International Music Festival “Chopin and His Europe”.

Over the years, “{oh!} Orkiestra” has confirmed its first-class international reputation, performing at opera houses, concert halls, and important festivals, including Theater an der Wien, Staatsoper Berlin, Tchaikovsky Hall in Moscow, Konzerthaus Dortmund, Cologne Philharmonic, Bachfest Leipzig, Handel Festival in Halle, Tage Alter Musik in Herne, and the Bayreuth Baroque Opera Festival. In the previous season, {oh!} Orkiestra performed at Wigmore Hall in London, Barocktage in Berlin, Telemann Festtage in Magdeburg, Actus Humanus in Gdansk, and Misteria Paschalia in Krakow. In September 2022, the ensemble was named orchestra-in-residence for the Bayreuth Baroque Opera Festival, where they performed various repertoires, including a new production of Vinci’s “Alessandro nell’Indie”, staged by Max Emanuel Cencic and conducted by Martyna Pastuszka.

The ensemble’s discography includes numerous recordings, among which stands out Vinci’s opera “Gismondo, re di Polonia” (Parnassus Arts Productions), featuring countertenor Max Emanuel Cencic in the lead role. Unanimously appreciated by the international specialized press, the album was nominated for the 2021 Opus Klassik award in the “Ensemble of the Year” category, as well as for the Koryfeusz Muzyki Polskiej awards and the German Record Critics’ Award. Among the orchestra’s upcoming releases are Karol Lipiński’s Symphonies (NIFCCD) and Telemann’s early Cantatas with Ensemble Polyharmonique (CPO).

19 Sept, 19:00 hr
Brasov Philharmonic
Oriental Tales - Martyna Pastuszka și „{oh!} Orkiestra”

The concert program is one of Eastern stories and encounters as a source of inspiration for Western composers of the 17th and 18th centuries. The program contains works written under the influence of encountered cultures, admiring their specifics, traditions, and mythology.

It is difficult to find sounds of the Orient here, as if the composers did not seek ways to reflect Oriental sonorities, but rather took the opportunity to draw listeners’ attention to stories from the East – to the fabulous Orient.

Concerto Phoenix, Sonata La Sultanne, or Concerto Comique Les Sauvages are attributed to this category of “entertainment music”. Henry Purcell’s Suite, along with Schmelzer’s Sonata, use the presence of stories and other cultures for political purposes. Elkanah Settle’s tragedy Distress’d Innocence, which explores the theme of violence against a woman as a means of degrading her husband’s position, fits into the mainstream literature of the Restoration period in England and attempts to shed light on a widespread problem in European countries. By moving the action thousands of kilometers away, the two authors, Settle and Purcell, make the reflection less intrusive and therefore possible. Schmelzer’s Sonata clearly incites the struggle to maintain European identity. It recalls the moment of victory over the Ottoman army in Vienna in 1683.