offenekirche pro g ra m polyphony of cultures · pro g ra m polyphony of cultures international...

p r o g r a m P o ly p h o n y o f c u lt u r e s International Festival

of free reed instruments1 – 24 June 2016, Berne

of fenekirche

Festival Polyphony of Cultures 1 – 24 June 2016Heiliggeistkirche

Wednesday 1 June 2016 > 12.30–13.00 Heiliggeistkirche

halb eins – Word Music SilenceNina Simonett, accordeon and Anna Moser, violin/vocalConradin Conzetti, texts

> 7 pm Heiliggeistkirche

Festival OpeningWu Wei, chinese Sheng and Marc Fitze, harmoniumat 7:30 pm Solo Program: Werner Aeschbacher, swiss hand or-gans

> 10 pmKubus Konzert Theater BernWaisenhausplatz

Sheng-Concert Wu Wei Sheng (China) and Marc Fitze, portable organclassical Chinese music and Works by J.S. Bach, E. Satie and others

Thursday, 2 June 2016 > 8 pm Hotel Hapimag Interlaken

Sheng-Concert Wu Wei Sheng (China) and Marc Fitze, portable organclassical Chinese music and Works by J.S. Bach, E. Satie and others

Friday, 3 June 2016> 12.30–13.00 Heiliggeistkirche

Orgelpunkt Wu Wei Sheng (China) and Marc Fitze, portable organclassical Chinese music and Works by J.S. Bach, E. Satie and others

> 5 pm Französische Kirche CAP

“Around the world in song” with Antonio Garcia, accordeon C’est la petite Gilberte, Gilbert’ de Courgenay ... Wenn die Elisabeth nicht so schöne Beine hätt’...

Sunday, 5 June 2016 > 8:30 pm Kubus Konzert Theater Bern Waisenhausplatz

Swiss Folk Music - from traditional to experimentalDuo Evelyn and Kristina Brunner, contrabass, cello and Swiss hand organ

Monday, 6 June 2016 > 8:30 pm Kubus Konzert Theater Bern Waisenhausplatz

India ConcertEnsemble of the Kalanikethan School for Dance, BasleBabu and Bavani Thangarajahclassical Indian music, song and dance

Friday, 10 June 2016 > 12.30–13.00 Heiliggeistkirche

Orgelpunkt: World Premiere “Suite pour Harmonium” by Hans Peter GrafMarc Fitze, harmonium

> 7:30 pm Heiliggeistkirche

One-Man-Show: Antonio Serrano, Harmonica (Spain)from Bach to Bacharach: Jazz, Blues, Pop, Flamenco

Program Overview

Wednesday, 15 June 2016> 6 pmHeiliggeistkirche

Simon Buser (Germany), Harmonium-PrototypenConcert with commentary: works for Muller expressive organ and Debain harmonium. Works by A.P.F. Boëly und C. Saint-Saëns

> 7:30 pmHeiliggeistkirche

Balázs Szabó (Hungary), Piano-Orgue Franz Lisztconcert with commentary: Works of Franz Liszt, S. Thalberg and others

> 9 pmHeiliggeistkirche

Concert: Claudio Brizi (Italy), Orgue-Célesta and Harmonium à prolongement Titzwith Pierre-Alain Clerc, Speaker and Giulio Giurato, pianoWorks by A.F. Sulpizi (World Premiere), P.I.Tschaikovski, W.A. Mozart and others

Thursday, 16 June 2016> 4 pmFranzösische Kirche

Lecture: Mason & Hamlin – Music and CraftsmanshipThomas Reilich (Germany)

> 4:30 pmFranzösische Kirche

Concert: „Music for the American or Normal Harmonium“Artis Wodehouse (New York, USA)Works by Templeton Strong, Arthur Bird and Charles Ives


Concert: Jan Hennig, harmonium and Ernst Breidenbach, pianoWorks by Sigfrid Karg-Elert, Max Reger, Charles Gounod and others

> 8:30 pmHeiliggeistkirche

Harmonicorde ConcertJoris Verdin, Harmonicorde (Antwerpen)


“The Harmonium in the Mortar Chamber”Hermann Burger’s novel “Schilten” and music for art harmoniumJohannes Matthias Michel, speaker and harmonium (Germany )

Friday, 17 June 2016> 12.30–13.30Heiliggeistkirche

“Orgelpunkt” Special: Chamber music with harmoniumPierre-Alain Clerc, Mustel organ and string ensemble Works by Jules Mouquet, Wagner, Dvorak, Saint-Saëns and C. Debussy

> 2:30–3:30 pmHeiliggeistkirche

Lecture: Louis Huivenaar: „Ethics in Restauration“(in English)

> 3:30–5:00 pmHeiliggeistkirche

Lecture: Jacques Prévot: “Some aspects of the history of the firm Mustel”(in French)

Information and further details: www.polyphonie-der-kulturen.ch

> 5–6 pmHeiliggeistkirche

Concert: Emmanuel Pélaprat, harmonium and Jérôme Granjon, pianoWorks by C. Saint-Saëns, C. Franck and A.L.J. Lefébure-Wély

> 7–11:30 pmHeiliggeistkirche

„Hommage à Victor Mustel“8 short concerts with: Anne Page (GB), Jan Hennig und Ernst Breidenbach, (DE), Balázs Szabó (HU), Marc Fitze und Alexandre Dubach (CH), Claudio Brizi (I), Emmanuel Pélaprat, Joris Verdin (BE), Mark Richli, and Otto Georg Linsi, (CH)

Saturday, 18 June 2016> 3 pmHeiliggeistkirche

General Assembly of the Jehan Alain Association (in french)with Guy Bovet (CH-Neuchâtel), Aurelie Decourt (F-Paris) and others. Presentation of the digitalization project of Jehan Alain’s manuscripts .


Concert „Flight“Oratorium „Hypatia“ by Waël Sami Elkholy (World Premiere) and Oratorium „The Flight into Egypt“by Albert Alain (Swiss Premiere)Vocal Ensemble Les Voc-à-Lises, Marc Fitze, harmonium

> 7:30 pmFranzösische Kirche

Gioacchino Rossini: Petite Messe solennelleBernese Chamber Choir, Martina Jankova, soprano, Olivia Vermeulen, alto; Bernhard Schneider, tenor, Daniel Ochoa, bass, piano duo Gerwig & Gonzales, Kurt Lueders (Sorbonne, Paris) harmonium and introduction. Jörg Ritter, conductor

Sunday, 19 June 2016> 10.30 amHeiliggeistkirche

Church Service for the National Day of RefugeesRev. B. Rieder. Repeat performance of the Oratorium “Hypatia” Vocal Ensemble Les Voc-à-Lises, Marc Fitze, harmonium

> 5 pmFranzösische Kirche

Gioacchino Rossini: Petite Messe solennelleBernese Chamber Choir, Martina Jankova, soprano, Olivia Vermeulen, alto, Bernhard Schneider, tenor, Daniel Ochoa, bass, piano duo Gerwig & Gonzales, Kurt Lueders (Sorbonne, Paris) harmonium and introduction. Jörg Ritter, conductor

Friday, 24 June 2016> 12.30 pmHeiliggeistkirche

Orgelpunkt: Final ConcertJulien Paillard, accordeon and Antonio Garcia, organ

The „Polyphony of Cultures“ festival is a joint project of offene kirche bern,

Kirchgemeinde Heiliggeist, KonzertTheaterBern, the French Church of Berne,

Hotel Hapimag Interlaken, the Jehan Alain Association of Romainmôtier, and

the Chamber Choir of Berne.

We are grateful to the following sponsors for their support:

Stiftung fürKirchliche liebeStätigKeitim Kanton bernKLT

Unterstützt aus dem VolkskulturFonds von Pro Helvetia, Schweizer Kulturstiftung

Stiftung Dialog zwischen Kirchen, Religionen und Kulturen

ZahnärZtliches institut KonolfingenGebrüder Bigler

“Music is more than style” - beyond the limits of mu-sical style, which often radically differs according to taste and milieu, there are musical qualities which are universal. The “Polyphony of Cultures Festival” in June 2016 aims to show that cultures which have de-veloped through migration over centuries influence one another, and that many of them are now at home here in Switzerland. The widespread harmonium and harmonica family is a good example. C onve ntions of free reed instruments have a rich past in Germany,England and in the USA, but they have never been socompletely presented as they are now in Berne.

The technical mastery, enthusiasm and generosity of the 116 musicians from 12 countries, is exciting. A special spirit of dedication pervaded the planning and preparation of the festival. Inspired by the idea, the musicians restored their priceless historical instruments, and volunteered to loan them to other musicians whom they barely knew, so that the music could be performed as it was meant to sound. As you page through this program booklet, you will immed-iately feel how exceptional and utterly unique the festival project has become: programs with which the artists have won recording prizes; instruments painstakingly restored, which form part of their na-tional cultural heritage and have been financed with European grants; premiere performances of works by composers who received national or international grants and awards, – and much more.

ForewordMarc Fitze, artistic director

The music itself comprises almost all musical styles imaginable: jazz, flamenco, tango, choral works, spiritual, chamber, salon music; silent film accom-paniment; traditional Chinese, classic Indian, and Swiss folk music, and a total of five premiere per-formances of contemporary works. Artists will be heard who are not only outstanding in their field, but who also bridge many musical styles and cultures as the motto of the festival’s organizers have set as their goal from the beginning. The project “Poly phony of cultures” should allow artists to be heard who practice intercultural bridge-building at a high level with musical and humane openness.

Wednesday 1 June 2016

> 7 pm

Festival Opening with

Wu Wei, Chinese Sheng

Harmonium and Marc Fitze

from 7:30 pm

Solo program:

Werner Aeschbacher

various small organs

Heiliggeistkirche

The festival opening offers an overview of the vast musical spectrum to be heard in the coming weeks: ranging from the 3000-year-old Chinese “sheng” to the complex Euro-pean keyboard instruments of Franz Liszt. The famous Chi-nese sheng player Wu Wei will present his instrument, and Marc Fitze his valuable French Mustel harmonium. In 1776 the French Jesuit and missionary Father Amiot sent several shengs from China to Paris, and a set off a wave of inven-tion of new instruments: harmonium, accordeon, harmoni-ca, bandoneon, and the entire palette of Swiss hand organs. Werner Aeschbacherr will highlight the opening of the fes-tival with his whole collection of hand organs. His program reaches from the Emmental to Caribbean calypso, the Amer-ican South, Argentina and southern Europe, and thereby sets the tone for the festival’s “polyphony of cultures”.

Free-thinker and world traveler: one wouldn’t suspect Werner Aeschbacher of being a revolutionary. He is a quiet, relaxed man, somewhat retiring, respected by his colleagues. Yet, nevertheless a rebel, devoted to his cause. Swiss folk music is a difficult genre, the rules of which date back to way back when... Aeschbacher is often criticised for not playing “correctly”, but in fact, he treats folk music with great respect, not jazzy dissonance. He loves to travel to wherever hand organ players perform bossa nova, tango, zydeco. Results? Wonderful music that even the most dyed-in-the-wool rock music lovers can enjoy.

Foto

: Pet

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Entrance free – recommended donation CHF 30 – 40


> 10 pm

Sheng Concert Wu Wei,

(Shanghai), sheng

Mark Fitze (Berne),

portable organ

Kubus Konzert Theater

Waisenhausplatz

Repeat performance:

Thursday, 2 June 2016

> 8 pm

Hotel Hapimag, Interlaken

Friday 3 June

> 12:30 pm,

Heiliggeistkirche


The Chinese mouth organ “sheng” is the original of all har-monica instruments. Outside of China it is known nowadays through the virtuosity of Wu Wei, who has created new pos-sibilities for the 3000-year-old instrument through his inter-est in modern compositional and playing techniques. He has performed over 280 works by contemporary composers such as John Cage, Enjott Schneider and Jörg Widmann, and has appeared in 10 solo concerts with the Berlin Philharmonic under Kent Nagano, with the BBC Symphony Orchestra, the NDR Symphony Orchestra under Gustavo Dudamel, among others. In Berne Wu Wei and Marc Fitze present a program for sheng and organ, with both classical Chinese and Euro-pean baroque works.

• Johann Sebastian Bach: Sonate in g minor, BWV 1020Allegro – Adagio – Allegro

• traditional China: Melodie from the Kun opera

• Eric Satie: Première Gymnopédie (1888)

• Gabriel Fauré Apres un rêve op.7, number 1

• Klaus Stahmer: Friendship (youqing), premiere performance

• Johann Sebastian Bach: Kyrie from the St. Matthew Passion, BWV 244

• Wu Wei: Dragon Dance

• AntonioVivaldi: Variation on “La Folia” op.1, number 12

Wu Wei (born 1970, People’s Republic of China) is a master of the traditional Chinese music instruments sheng and erhu in improvised, modern and jazz music, and also a composer. His concerts are a blend of world musical repertoire and the traditional music of his native land. He studied sheng at the Music Academy in Shanghai, and was a soloist in the Shang-hai Chinese Orchestra before he began his studies at Hanns Eisler University in Berlin in 1995. Since then he has lived in Berlin, and since 2013 he has also been on the faculty of the Music Academy in Shanghai.

Biography of Marc Fitze see concert of 10 June, 12:30 pm

Friday 3 June 2016

> 5 pm

“Around the world

in song” with Accordeon

Antonio Garcia

Französische Kirche “CAP”

“Gilberte de Courgenay....” Accompanied by Antonio Garcia on the accordeon, the public is invited to sing popular mel-odies like this one from the wartime years, as well as folk-songs from around the world. The accordeon has a promi-nent place in many cultures, and is at home in many musical styles.

Antonio Garcia has been the organist of the French Church in Berne since 2013. His earliest musical training began on the accordeon, with Jean-René Glück. Later he studied organ with Bernhard Heiniger in Biel, and Jean-François Vaucher at the Conservatory in Lausanne. He spent a year in Berlin, in the classes of Leo van Doeselaar and Paolo Ci-vellaro. In 2007 he earned the Higher Certificate of Music, 2008 the teaching diploma, and in 2010 his Master of Arts for Interpretation, in Lausanne. Further studies in organ, harp-sichord and piano took him to Groningen (NL) and Hamburg. As an organist, he has appeared in numerous premiere per-formances of modern works in Neuchâtel, Verbier, among others, and on the accordeon with the tango trio “Tres vien-tos”, and as accompanist to the pop singer Amélie Daniel.


Sunday 5 June 2016

> 8:30 pm

Swiss Folk Music –

from traditional to...

experimental

Duo Evelyn and Kristina

Brunner, contrabass, cello

and Swiss hand organ


Waisenhausplatz Bern

Evelyn and Kristina Brunner have been playing music to-gether since childhood, and received their first music les-sons from their father. With their background in Swiss folk music and work with musicians from other cultures, they have developed their own sound. Traditional Swiss ländler music, as well as pieces from faraway lands put the Swiss hand organ in another perspective.

Evelyn Brunner (*1990) studied music and pedagogy at the University of Lucerne. Early in childhood she began to play the Swiss hand organ with Louise Keller, and continued later with Daniel Marti and Markus Flückiger. She studied contra-bass for several years with Bettina Keller and Dieter Lange, and for two years with Bobby Burri at the University of Lu-cerne. She teaches Swiss hand organ at the music schools in Thun and Berne.

Kristina Brunner (*1993) studied cello with emphasis on folk music at the University of Lucerne, with Jürg Eichenberger. Before that, she studied with Widar Shalit, Martina Huber, Martina Schucan and Peter Leisegang. Her very first mu-sic instruction on the Swiss hand organ began with Louise Keller, later with Daniel Marti. She has remained faithful to the cello, however, and teaches cello at the music school of the Gürbetal region.


Monday 6 June 2016

> 8:30 pm

India Concert

Ensemble of the

Kalanikethan School for

Dance, Basle

Babu and Bavani

Thangarajah classical

Indian music, song and

dance


Waisenhausplatz Bern

The Kalanikethan School of Dance was founded in Basle in 1992, and specializes in the south Asian “Bharathanatyam” style of dance. Under the direction of Krishnabavani Sritha-ran, the school emphasizes a holistic form of dance: in addi-tion to dance, students also learn the theory of dance, Indian mythology and Indian classical music.

The Kalanikethan Ensemble presents several works from the traditional repertoire of Bharathanatyam, accompanied by a live ensemble of young Indian musicians who live in Switzerland.

Friday 10 June 2016

> 12:30–1 pm

Orgelpunkt:

Premiere performance

“Suite pour Harmonium”

by Hans Peter Graf

Marc Fitze, Harmonium

Heiliggeistkirche

Inspired by the musical and technical possibilities of the Mustel harmonium, Bernese composer Hans Peter Graf has composed a new work for harmonium, specially for the fes-tival.

Hans Peter Graf (*1954):Suite pour harmonium op.223 (premiere)I. IncantationII. Phénomènes d’échos III. Danse argentineIV. Devenir et disparaîtreV. Apparition de phantômesVI. Triste RécitVII. Toccata

Hans Peter Graf was born in Berne in 1954. He attended the cantonal teachers’ seminar and in 1980, earned the 1st certificate in organ at the Conservatory of Berne, studying with Edwin Peter. He is a self-taught composer, and his (more than 220!) works number among the most popular by Bernese composers. He has created choral and organ music for church services, and numerous concert works for unusu-al ensembles such as alphorn and organ, and dulcimer and organ. He is an organist at the Nydegg church and also at the First Church of Christ Scientist in Berne. He teaches piano, keyboard and organ, and plays in various jazz bands.

Marc Fitze is the titular organist at the Heiliggeistkirche in Berne, instructor at the Conservatory of Berne, and artistic director of the Baroque Center of Holy Spirit Church. He per-forms regularly in concerts in Switzerland, Germany, Italy, France, England, Holland, Spain, Ukraine, Mexiko, the USA and Japan. In addition he specializes in the harmonium and its historical performance practice, and has a private collec-tion of historical Mustel instruments. Marc Fitze plays a har-monium made in Spain in 1892, which was carefully restored by Louis Huivenaar.

Friday 10 June 2016

> 7:30 pm

One-Man-Show:

Antonio Serrano,

Harmonica (Spain)

from Bach to Bacharach:

Jazz, Blues, Pop, Flamenco

classical

Heiliggeistkirche

In his solo show “The Harmonious”, Antonio Serrano slips easily back and forth among classical, jazz, blues, pop, world and flamenco styles, and accompanies himself con brio on the piano. His eclectic program ranges from his own char-acteristic arrangements of film melodies to folksongs, and from Bach to Bacharach. Every song is introduced by a per-sonal story, which gives the public a feeling of spending a private evening with the maestro. The press once reported: “His show glows with humor, tenderness, self-assuredness and spontaneity. His success is due to his talent as a jazz musician. At the end of the show, when he plays “What a wonderful world”, not an eye in the house remains dry...”

Antonio Serrano (*1974 in Madrid), winner of the Latin Grammy in 2015, is today considered among the very top popular interpreters of the harmonica. His earliest instruc-tion began at age 7, with his father. Later he studied with the legendary Larry Adler. At a very early age he developed an astounding ability on the chromatic harmonica. At 13 he achieved international fame when he appeared in Paris in a duo with Larry Adler. This concert marked the beginning of a long friendship with Adler, and the beginning of Anto-nio’s professional career. Larry Adler became his mentor, and they performed numerous concerts together. Soon it was only a question of time before Antonio was asked to play with Spain’s legendary flamenco guitarist Paco de Lucia. An-tonio thus became the first harmonica spieler in flamenco, a world which had always been considered closed to anyone outside the flamenco circle. In addition to recordings of orig-inal concertos für harmonica and orchestra by Villalobos and Malcolm Arnold, and arrangements by Enescu, Gershwin,Pi-azzola and others, Antonio Serrano has recorded with all the major pop and rock artists in Spain, and has helped with the soundtracks for films by Pedro Almodovar.



> 6:00 pm

Simon Buser (DE),

Harmonium Prototypes

Concert with commentary:

works for Muller expressive

organ and Debain harmonium

Heiliggeistkirche

Simon Buser owns and preserves an important and varied collection of early harmonium instruments. At the end of the 18th century, when dynamics became the primary means of musical expression, construction of instruments began to strive for “expressive” pianos and organs. Early experiments with organ pipes led to the invention of dynamic organs, which were soon abandoned because of their complicated construction. The reed as the source of sound was then dis-covered, and a new era of piano and harmonium prototypes, and compositions for these new keyboard instruments be-gan. Simon Buser explains and plays several instruments from his collection, and introduces the listener to the pio-neer spirit – both in instrument building and musical com-position – of that era.

Portable expressive organ number 172 by Achille Muller, Paris, circa 1845Harmonium number 282 by Alexandre François Debain, Paris, circa 1845

• Alexandre Pierre François Boely (1785–1858): from “12 Morceaux pour Orgue expressif op.14” (1846)No. 1 Allegro maestoso – No. 2 Andante sostenuto – No. 3 Marcia, Andante – No. 4 Allegro – No. 6 Larghetto sostenuto – No.7 Allegro

• Camille Saint-Saens (1835–1921): from Trois Pièces op.1 (1852): No. 1 Méditation – No. 2 Bar-carolle – Prelude – Interlude fugué – Offertoire

• Alexandre Pierre François Boely: 1ere Fantaisie pour Orgue expressif op.57, no..2(1827, printed 1860)2eme Fantaisie pour Orgue expressif op.57, no. 3(1829, printed 1860)

César Franck (1822–1890): from Cinq Pièces pour harmonium (1865) Petit Offertoire – Deux Versets – Offertoire

Simon Buser grew up in the Basle region of the Jura. After his gymnasium studies with a major in Latin, he learned or-gan building at the firm of Kuhn organ builders in Männe-dorf, Zürich. He earned his organ teaching and concert di-plomas with Rudolf Meyer at the University in Winterthur. 1989–99 he was the organist at the City Church in Liestal, and at the same time he maintained his own atelier for the restoration of organs and harmonium instruments. Since 1999 he has worked at the organ construction firm of Gerald Woehl in Marburg.



> 7:30 pm

Balazs Szabo (HU),

Piano Organ Franz Liszt

concert with commentary:

Works of Franz Liszt,

S. Thalberg and others

Heiliggeistkirche

The idea of combining the sound of plucked strings with the organ is an old one, and led to the development of „piano organs“. A way was sought to lengthen the sounds of the first pianofortes by coupling them with the sounds from or-gan pipes. This led to the Liszt piano, a grandiose instrument which was designed by the composer himself. Dr. Balazs Szabo, professor at the Franz Liszt Academy in Budapest, was responsible for the restoration 2008–13 of the piano or-gan from the estate of Franz Liszt. Liszt had two such instru-ments built according to his own plans, and used them for his acoustic studies and compositional work. Since its res-toration, the rare instrument heard tonight has never been outside of Budapest.

• Ferenc Liszt (1811–1886)Angelus! Prière aux anges gardiens (1877)

• Louis James Lefébure-Wely (1817–1869)Marche des gardes from 1er Suite pour l‘harmonicorde, Op.104 (1856)

• Sigismund Thalberg (1812–1871)Quatuor de l‘opera „I Puritani“ de Bellinifrom L‘art du chant appliqué au piano, Op. 70 (1853–54)

• Felix Alexandre Guilmant (1837–1911)Scherzo from 6 Pièces pour harmonium (1871)

• Ferenc Liszt (1811–1886) „O du mein holder Abendstern“, Recitativ and Romanze from Richard Wagner‘s Tannhäuser (1848)Variations on Bach‘s „Weinen, Klagen, Sorgen, Zagen“ (1862–1863)

All pieces (except Lefébure-Wely) were transcribed for piano organ by Balazs Szabo

Balazs Szabo’s biography see concert of 17 June, 8 pm



> 9 pm

Concert: Claudio Brizi (I),

Celesta organ and

Harmonium with Titz ex-

tension with Giulio Giurato,

piano and Pierre-Alain

Clerc, speaker

Heiliggeistkirche

A fascinating and much-in-demand musician, Claudio Brizi has been active in the research and performance on hybrid keyboard instruments: Claviorgano, harmonium-celesta and harmonium piano. His collection includes historical pianos and fortepianos, harpsichords, organs, a claviorgano, many various harmonium instruments and the famous harmoni-um-celesta, which was Mustel’s exhibition piece in 1897. For this concert, he has brought several of his most spectacular instruments to Berne. In addition to brilliant adaptations of known orchestral works, Claudio Brizi will present the world première of a work by the Italian composer Fernando Sul-pizi. Sulpizi is currently at work on a large cycle, a musical commentary on the 13 books of Augustinus of Hippo’s “Con-fessions”. Each book is dedicated to one instrument, and the eighth book was composed for celesta organ.

Fernando Sulpizi (*1936): The Confessions – Book VIII for celesta organ and speaker (world première)

Giuseppe Verdi (1813–1901): Preludio from “Othello”, Act IVP.I. Tschaikowsky (1840–1893): Dance of the Sugar Plum Fairy arranged by C. Brizi for celesta organ, 4 hands

W.A. Mozart – C. Loret (1756–1791):

The Magic Flute

L. van Beethoven – L.F.A. Frêlon (1770–1827): Andante from Symphony in c minor for harmonium with extension

Claudio Brizi studied organ with Wim van der Pol in Perugia, and with J. Uriol, M. Radulescu and M. Morgan. He continued his studies in harpsichord with A. Conti in Bologna. Claudio Brizi is an active concert harpsichordist, organist and con-ductor. His solo repertoire ranges from Bach and Haydn’s concerti to de Falla, Frank Martin, and Francis Poulenc. Ac-tive as a composer, he is also especially devoted to contem-porary and Italian music. His recordings number over 100 CDs, and range from late Renaissance music to the modern. He is the professor of organ at the Music Conservatory in Cosenza, and gives master courses in Europe and Japan.

For biographies of Giulio Giurato, piano, and Pierre-Alain Clerc, speaker, see concerts of 17 June 12:30 pm and 9 pm



> 4 pm

Lecture: Mason & Hamlin –

Music and Craftsmanship

Thomas Reilich, Germany

Französische Kirche

By way of introduction to the concert of Artis Wodehouse, Thomas Reilich, organ builder and harmonium restorer will explain the particular construction of the instrument that will be played, and give a short historical outline of the firm Mason & Hamlin. The public will readily gain an impression of the technical refinement and high-quality craftsmanship of Mason & Hamlin.


> 4:30 pm

Concert: Music for

the American or

Norma Harmonium

Artis Wodehouse

(New York, USA)


The American pianist Artis Wodehouse has devoted her entire career to the rediscovery of compositions and music instruments of the past. She has a private collection of his-torical Steinway grand pianos, harmoniums and reed organs of the 19th and 20th centuries. The New York Times called her “the savior of the old and neglected”. In 2015 Artis Wode-house recorded the entire work for harmonium of the Ameri-can composer Arthur Bird, on CDs.

• Templeton Strong (1856–1948): Meditation (1899) for the harmonium

• Arthur Bird (1856–1923): Music for the American HarmoniumIntermezzo Op.39 no.3Waltz Op.44 no.3March Op.44 no.1Gavotte Op.44 no.4Prelude and Fugue in C (unpublished manuscript inLibrary of Congress circa 1900)Interludium Op.39 no.1Reverie Op.37 no.4Sketch No.1 from Op.45Scherzo Op.37 no.8Pastoral Op.37 no.10Prelude and Fugue in a minor (unpublished manuscript in Library of Congress, circa 1907)Sketch No.3 from Op. 45

• Charles Ives (1874–1954): Early Organ MusicAdagio in F – Burlesque Exercise in c minorHarmonizations of “London Bridge”

Artis Wodehouse’s unique career is based on her definitive piano training. Her first teacher was Ludmilla Berkwic, who studied in Poland and Russia, where she was a classmate of Vladimir Horowitz. Artis Wodehouse then studied with George Papastavrou, the specialist in the works of Charles Ives. Papastavrou’s wide vision and unorthodox research methods influenced Artis’ own work. She earned her Bache-lor of Arts at Manhattan School of Music, her Master of Arts at Yale, and her doctoral at Stanford, with a dissertation on early recordings of pianists who were born before 1900. Her 15-year research project on Gershwin’s previously unknown phonograph recordings became a bestseller.


Thursday 16 June 2016

> 6 pm

Concert: Jan Henning,

Harmonium and Ernst

Breidenbach, Piano

Heiliggeistkirche

Ernst Breidenbach and Jan Henning have played together as a duo for several years. Their first CD with a selection of Karg-Elert’s arrangements of Richard Wagner’s opera themes was produced for Pan Classics in a co-production with Deutscheradiokultur (German cultural radio) in 2013. A further CD with rediscovered works by French composers was produced by Hessische Rundfunk in March 2016. The use of the Erard grand piano is particularly noteworthy; it was painstakingly restored for the recording session in ear-ly 2015. For their concert in Berne, Henning and Breiden-bach will use a celeste organ, number 1146-870-188 (built in 1902), which belongs to Jan Henning’s private collection, and an Erard grand piano (built in 1847), which Claudio Brizi has generously loaned for the concert.

• Marie Prestat (1871–1933):Prelude and Fugue in g minor op.28

• Adolf Blanc (1828–1885):Sonata op.55Allegro – Andante – Scherzo (Allegro vivo) – Allegro

• Max Reger (1873–1916)Romanza (arranged as a duo by Sigfrid Karg-Elert)

• Sigfrid Karg-Elert (1877–1933):Four Duos op.26Humoreske – Adoration – Capricietto – Rêverie

• Charles Gounod (1818–1893): Fantasy on the Russian national hymn arranged as a duo by Alexandre Guilmant (1837–1911)

Biography of Jan Henning see concert of 17 June, 7:30 pm

The pianist Ernst Breidenbach began his concert career af-ter winning a nationwide music competition in Germany, and has performed as a soloist and in chamber music ensembles in Europe and the USA. At the age of 24 he took up his first position as a professor of piano at the Konservatorium der Akademie für Tonkunst in Darmstadt. Today he is principally known for his CD and radio recordings, and for his enthusi-astic furthering of the music of Sigfrid Karg-Elert and other neglected composers of the past. With Johannes M. Michel he has recorded a duo CD with the works of Alexandre Guil-mant. The recording received great praise in March 2003 from the magazine FonoForum.

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> 7:30 pm

Harmonicorde Concert

Joris Verdin, Harmonicorde,

Antwerpen

Heiliggeistkirche

Although the harmonicorde, like the piano organ (see con-cert of 15 June) has piano strings and harmonium reeds, it is not a combination of two instruments, but is really a com-pletely independent harmonium instrument with a single keyboard, which its inventor Alexandre Debain perfected by adding individual strings and hammers. Debain patented his harmonicorde in 1851. Five years later in a letter to Debain, Rossini congratulated him for his invention and then includ-ed the instrument in the premiere performance of „Petite Messe solenelle“ in 1864. When, in 1862, the instrument was exhibited in London, Queen Victoria and Prince Albert ordered two instruments from Debain. The harmonicorde was popular for many years, and in 1867, the music journal-ist Escudier wrote: „The contrast between the wind system, by which long-held tones are created, and the pizzicato ef-fect of the hammers on the strings, is absolutely enchanting, and full of nuance.“ It is a very rare and special witness to what Hector Berlioz once called the „expressive instrumen-tal class.“

• George Bizet (1838–1875):Sérénade à Monsiuer Lefébure-Wely

• Camille Saint-Saens (1835–1921):Barcarolle op.1 no.2

• A.L.J. Lefébure-Wély (1817–1869):from „Three Suites for Harmonicorde“ Angelus – Montagnarde – La prise de voile

• Joseph Leybach (1817–1891):Les Bateliers de Venise

• Théodore Dubois (1837–1924):Pastorale (with „storm“)

• Jacques Nicolas Lemmens (1820–1879):Berceuse & Rêverie

• L.J. Lefébure-Wély (1817–1869) La désespérance – Rhapsodie espagnole –Naples La Prière sur le Vésuve – Naples tarantelle

• Alexandre Guilmant 1837–1911):Mélodie op.42Valse op.23, no.2

Biography of Joris Verdin see concert of 17 June, 10 pm



> 9 pm

“The Harmonium in the

Mortar Chamber”

Hermann Burger’s novel

“Schilten” and music for

harmonium

Johannes Matthias Michel,

reading and harmonium

Heiliggeistkirche

Johannes Matthias Michel reads from Hermann Burger’s powerful novel “Schilten” and interprets the role of Armin Schildknecht musically on the harmonium. Under the pseu-donym Armin Schildknecht, the 30-year-old Peter Stirner teaches school in an isolated village in the canton of Aargau. But he has long strayed from the cantonal curriculum.The cemetery near the school suggests the subject matter: stud-ies in death. In one of the most important post-war novels, written in 1976, Hermann Burger meticulously but merci-lessly describes a national obsession. When the frustrated schoolteacher Schildknecht sits down at his harmonium in the mortar chamber underneath the sports gymnasium, he conjures up the Apocalypse, and causes pandemonium.

• Alexandre Guilmant (1837–1911): Scherzo in d minor, op.31

• Sigfrid Karg-Elert (1877–1933)Dance of Death (Orchestral Study op.70, no.2)

• Jean Philippe Rameau (1683–1764): La Poule (The Hen) from the Suite according to Rameau by Sigfrid Karg-Elert

Sigfrid Karg-Elert:Duetto d’amore (alla Verdi) from 33 Portraits, op.101

• Richard Wagner (1813–1883): Tristan and Isolde (Prelude), arranged by Sigfrid Karg-Elert

• Sigfrid Karg-Elert:Frauengunst (Woman’s Favor)(alla Joh.Strauss from33 Portraits, op.101

• Bogumil Zepler (1858–1919): Ländliche Skizzen (Country Sketches) (1899)1.Sunday morning a)in the forest b)in the chapel

• Sigfrid Karg-Elert: from Impressionen (Impressions) op.102a) Circles in the water b)The nightmare

• Sigfrid Karg-Elert Eine Jagdnovelette (A Hunting Novelette) op.70. no.1

Johannes Matthias Michel is the music director of Christ Church in Mannheim, and Cantor for Mannheim and North Baden. He conducts the Bach Choir and the Chamber Choir of Mannheim. In 2012 he was named Honorary Professor at the University for Music and the Arts in Mannheim. He is chairman of the Karg-Elert Society and editor of its publi-cations. He has also composed numerous works, primarily church music, which were published by Strube Publishers in Munich.He has recorded over 12 CDs on the organ and har-monium: Karg-Elert Works for Harmonium, Vol.1–5; duos for harmonium and piano, and organ works by Schlick, Bach, Karg-Elert, among others.


Friday 17 June 2016

> 12:30–13:30

„Orgelpunkt“ Special:

Chamber music with

Harmonium

Pierre-Alain Clerc (Mustel

organ), Hermine Voug

(violin), Friedemann

Sarnau (violin and viola),

Christian Volet (violincello)

Heiliggeistkirche

Pierre-Alain Clerc was the organist at St.Laurent and St.Paul in Lausanne, for nearly forty years. He teaches organ, harp-sichord, theory and rhetoric at the Conservatory in Laus-anne, and in Geneva. Besides his concert activities he also appears regularly in his second profession as an actor and public speaker. He is intensively involved in musical rhetoric, and frequently gives courses, seminars and conferences.

• J.S.Bach (1685–1750): Air from the Orchestra Suite in D major

• Camille Saint-Saens (1835–1921):The Swan (from the Carnival of Animals)Barcarolle (Three Pieces for Harmonium), op.2

• Richard Wagner (1813–1883):Two extracts from Tannhäuser, arranged by Karg-Elert1. Pilgrim Choir (Act 3) – 2. Recitativ and Song „Abendstern“

• Antonin Dvorak (1841–1904):Bagatelles for two violins, violincello and harmonium op.47 (1878)Allegretto scherzando – Grazioso – Allegretto scherzandoAndante con moto – Poco allegro

• Claude Debussy (1862–1914): The Girl with the Flaxen Hair

• Sigfrid Karg-Elert (1877–1933):Mountain melody, Hommage to Claude Debussy from Intarsien op.76 for harmonium

• Jules Mouquet (1867–1946):Quatuor for Mustel organ, violin, viola and violincello op.20

Hermine Vouga is a psychotherapist by profession. She stud-ied violin with André Loew in Lausanne and Geneva, and is very active in chamber music.

Friedemann Sarnau studied violin and viola in Vienna and Cologne, and plays in various ensembles in Switzerland. Deeply involved in teaching young musicians, he is also the founder and artistic director of the Tiffany Ensemble.

Christian Volet studied violincello in Lausanne with Paul Burger and in Bern with Walter Grimmer. Now retired from the Chamber Orchestra of Lausanne, he continues to devote his time to chamber music.


Friday 17 June 2016

> 2:30–3:30 pm

Lecture Louis Huivenaar:

“Ethics in Restoration”

(in English)

Heiliggeistkirche

Louis Huivenaar is a world-renowned restorer of music instruments, and has decades of experience and valuable knowledge in the field of harmoniums. Since 1975 he has worked as a restorer and certified expert in his own firm. Countless harmoniums, celestas and reed organs from all over the world have passed through his large workshop in Dieren, Holland, over the past decades. His customers come from major orchestras and museums, or are private collec-tors, and well-known musicians. In his presentation he will open one of his restored Mustel intruments, and offer con-crete examples – theoretical and practical – of the ethics of restoration. This is a good opportunity to enter the world of the restorer’s art and perhaps learn a few of the professional restorer’s secrets.

Entrance free – recommended donation

Friday 17 June 2016

> 3:30–5:00 pm

Lecture Jacques Prévot:

“Some aspects of the

history of the firm Mustel”

(in French)

Heiliggeistkirche

The history of the firm Mustel corresponds completely to the development of French instrument building between 1850–1950. Victor Mustel, harmonium builder since 1853, was a craftsman on a par with the great Parisian piano builders who were all facing increasing industrialization. Through his amazing inventions, which secured him a place of privilege and enduring recognition, he rose to the highest levels of in-strument construction of his time. At the turn of the century, his successors managed to spite the growing internation-al competition, and maintain high levels of manufacturing standards. During the First World War, Alphonse Mustel, the last generation of the family, strengthened the position of the family business by concentrating their capital, develop-ing semi-industrial production techniques, and adopting the American way of doing business. Even after the decline of harmonium building in the 1930’s, the name Mustel as a la-bel retained its reputation for high quality. With illustrations of the Mustel production workrooms, and unpublished ar-chive materials, Jacques Prévot will discuss the major phas-es of the artistic and economic history of the firm Mustel.

Jacques Prévot studied law, and at the same time organ at the National Conservatory in Lille, with Aude Heurtematte. Today he is employed by the French Ministry of Culture and is responsible for the cultural heritage of the historic organs of France. He is the founder of the Office for the Protection and Maintenance of Harmoniums. Jacques Prévot is particulaly interested in the economic and social history of harmonium building in France; this is an area in which there is still much unresearched material gathering dust in public and private archives. His highly respected book, “Mustel, makers and manufacturing of harmoniums” was published in 2014 in L’Orgue (no. 304–305, 2013–IV–2014–I, 322 pages.


Friday 17 June 2016

> 5:00 – 6:00 pm

Concert Emmanuel

Pélaprat, Harmonium

Jérôme Granjon, piano

Heiliggeistkirche

For several years Jérôme Granjon and Emmmanuel Pélaprat have performed under the name of “Ensemble Double Ex-pression”, presenting a rich and little-known repertoire for harmonium and piano. Their first CD was released by Hortus in autumn, 2015. They have rediscovered numerous works thought to have been lost, including Sonata op.61 by Lefébu-re-Wély, taken from a symphonic piece composed by his contemporary Frédéric Chopin. This evening the Duo Pélaprat-Granjon will use a celesta organ No.1146-870-188 (1902) from the private collection of Jan Henning, and an Erard grand piano (1847) which Claudio Brizi has kindly loaned for this concert.

• Camille Saint-Saens (1835–1921):Six Duos for harmonium and piano op.8 (1858)(dedicated to Lefébure-Wély)1. Fantaisie et Fugue – 2. Cavatine – 3. Choral –4. Capriccio – 5. Scherzo – 6. Finale

• César Franck (1822–1890: Prélude, Fugue et variation op.21 (circa 1865)(original version, dedicated to Camille Saint-Saens)

• L.J.A. Lefébure-Wély (1817–1869): Allegro from Sonata op.61 (circa 1851)

Jérôme Granjon won first prize in piano and chamber music at the Conservatoire National Supérieure in Paris, He stud-ied with Jacques Rouvier, Jean Hubeau, Maria João Pires, Maria Curcio and Colette Zerah. He has played in Japan, USA, Mexico, Argentina and Brazil, and appeared as soloist with Radio France, in Moscow, and with the Monteverdi Choir under Sir John Eliot Gardiner. For 2 years he was the assis-tant to Maria João Pires in Portugal. Since January 2015 he has taught chamber music in Lyon. Biography of Emmanuel Pélaprat see page 38


Friday 17 June 2016

“Hommage à Victor Mustel”

8 short concerts –

8 countries

> 7:00 pm

Anne Page, Harmonium

(England)

Heiliggeistkirche

Anne Page grew up in Perth, Australia, and studied with An-nette Goerke, who encouraged her to study organ with Ma-rie Claire Alain, and later with Peter Hurford at the Royal Academy in London. She appeared at the Royal Festival Hall in London in 1988, and from that time became interested in contemporary music. Under Jacques van Oortsmerssen she studied historical interpretation and technique. Her CD re-cordings and concerts in England have established her rep-utation as a pioneeer in the rediscovery of the harmonium. Her harmonium concert in the Purcell Room in London in 2008 was the first time that the harmonium had ever been heard in London’s South Bank.

Lionel Rogg (*1936):Suite anglaise (English Suite) for harmonium (2009)1. Prelude2.Stream3.Procession 4.Mist 5. Winds6. Drops7. Clouds8. Fanfare

In 2002 Anne Page was invited by the Royal Academy of Mu-sic to found the first harmonium class in an English con-servatory in modern times. In 2009 the Genevan organist and composer discovered the celesta organ at the Royal Academy, and dedicated his English Suite for harmonium to Anne Page. She played the Suite in a world-premiere per-formance in St.Imier. The music sometimes reminds one of the English virginalists Bird and Gibbons, sometimes of the Impressionists... There is also a version of the suite for or-gan, but it sounds best with the expressive possiblities of the harmonium.


Friday 17 June 2016



8 countries

> 7:30 pm

Jan Henning, Harmonium,

Ernst Breidenbach, piano

(Germany)

Heiliggeistkirche

Ernst Breidenbach and Jan Henning have played together as a duo for several years. Their first CD with a selection of Karg-Elert’s arrangements of Richard Wagner’s opera themes was produced for Pan Classics in a co-production with Deutscheradiokultur (German cultural radio) in 2013. A further CD with rediscovered works by French composers was produced by Hessische Rundfunk in March 2016. The use of the Erard grand piano is particularly noteworthy; it was painstakingly restored for the recording session in early 2015. For their concert in Berne, Henning and Breitenbach will use a celeste organ, number 1146-870-188 (built in 1902), which belongs to Jan Henning’s private collection, and an Erard grand piano (built in 1847), which Claudio Brizi has generously loaned for the concert.

• Joseph Collin (1902–1990): Six Pièces en Duo1. Marche héroique de Jeanne d’Arc2. Cantilène3. Pastorale4. Prière à la Madonne5. Idylle6. Pleurs amers (bitter tears)

• Laetitia Sari (1822–1893):Causerie op. 23 (Chat)

Jan Henning studied conducting, piano (Prof. Wilhelm Behrens) and cello (Walter-Michael Vollhardt) in Freiburg. He was concert master, study director and soloists’ mentor at various German theaters, where he acquired wide experi-ence in opera, operetta, musicals and ballet. Since 1999 he has worked intensively with the harmonium, and attended interpretation courses with Johannes Matthias Michel and Mark Richli. His first CD “The Harmonium – Hommage à Victor Mustel” was awarded the German Record Critic prize in 2012. Jan Henning lives and freelances in Offenburg. He teaches opera and oratorium practice and score-reading in Trossingen.

Biography of Ernst Breidenbach see concert of 16 June, 6:00 pm

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Friday 17 June 2016



8 countries

> 8:00 pm

Balazs Szabo, Harmonium

(Hungary)

“Hommage à

Zalanfi Aladar (1887–1959),

Hungarian student of

Sigfrid Karg-Elert

Heiliggeistkirche

Zalanfi Aladar was born on 17 March 1887 in Bardejov, Sa-ris, and died 15 Mai 1959 in Budapest. He was an important organist, organ expert and music teacher. He studied com-position and organ with John Kössler, and later with Karl Straube and Sigfrid Karg-Elert, and in Paris with Charles Widor. As a concert organist he was known internationally. In his functions as teacher and organ expert he influenced a half century of Hungarian organ culture. His Mustel harmo-nium of 1911 is now in the private collection of Balazs Szabo. For his concerts in Berne, Balazs Szabo plays a “Johannes Titz”, Löwenberg, harmonium, number 310-6 (1905–06), which Mark Richli has generously loaned.

• Sigfrid Karg-Elert (1877–1933): from Impressionen (Impressions) op.102– Klösterliche Melodie (Cloister Melody)– Vorüber (Long past)from the second Sonata for Harmonium op.46– Enharmonische Fantasie und Doppelfuge(Enharmonic Fantasy and Double Fugue)

Balazs Szabo (*1985) has made a name for himself in the organ world. He studied in Budapest, Würzburg, Trossin-gen, Rome and Utrecht, and has attended numerous mas-ter courses. He was greatly influenced by Dr.h.c. Christoph Bossert, in whose class Balazs Szabo earned his Master of Arts diploma in organ in Trossingen, 2010. In 2015 he fin-ished his doctorate with a dissertation on Max Reger’s or-gan works, under Prof.Dr. A.A.Clement in Utrecht. Szabo is the winner of the ION Musica Sacra prize in Nuremberg and the Bach Prize in Wiesbaden, Germany, the Grand Prix de Chartres and Grand Prix de Biarritz, France, and St.Maurice d’Agaune, Switzerland. In 2011 he was called to the faculty of the Music University Ferenc Liszt, and additionally in 2013 to the Bela Bartok Conservatory in Budapest. He is frequently guest instructor at international master courses and semi-nars.


Friday 17 June 2016



8 countries

> 8:30 pm

Mark Fitze, Harmonium,

Alexandre Dubach, Violin

(Switzerland)

The Harmonium in Spain”

Heiliggeistkirche

“For several years, Mark Fitze has been intensively research-ing the life and work of the harmonium virtuoso Antonio Lopez de Almagro, composer, publisher, influential person-ality, and founder of orchestras in Spain in the second half of the 19th century. Queen Isabella II created a post for him to teach harmonium at the Royal Conservatory in Madrid. He kept in close touch with Victor Mustel, and was the Spanish representative of the Mustel firm, since he also owned the music business “Casa Romero Madrid”, which sold Mus-tel’s instruments. In the Museum of the Royal Conservatory of Music in Madrid, a Stradivarius violin belonging to Pablo Sarasate is exhibited next to an instruction harmonium of Antonio Lopez Almagro. In this connection, it might be apt to cite Clément Lorets in Mustel’s catalogue: “A person can be as proud to say, ‘I own a Mustel’ as a violinist says, ‘I own a Stradivarius’. “

• Antonio Lopez de Almagro (1839–1904): Allegro maestoso from the Sonata para harmonium (circa 1890)

• Pablo Sarasate (1844–1908): Introduction and Tarantella op.43 (1899)

• Antonio Lopez de Almagro (1839–1904): “Fiesta de Aldea. Escena campestre” from “El harmonium de doble expresion” (1880)

• Camille Saint-Saens (1835–1921): Introduction et Rondo capriccioso op.28 (1870)(dedicated to Pable Sarasate)

Alexandre Dubach, from Thun, Switzerland, won his first na-tional prize after only two years of study. A student of Ulrich Lehmann, Yehudi Menuhin, Nathan Milstein and Salvatore Accardo, he made his debut at age 15 as the soloist with the Tonhalle orchestra in Zurich, playing Mendelssohn’s violin concerto. He soon won important competitions in Switzer-land and abroad, including the coveted “Premio Rodolfo Lipizer” in Gorizia. He tours regularly in Germany, Poland, Italy, France, Rumania, Japan and China. His great love and idol is Niccolo Paganini. With the Symphonic Orchestra of Monte Carlo he has made CD recordings of all 6 Paganini vi-olin concerti with his own cadenzas, which have been highly applauded in musical circles, including Joachim Hartnack’s book, “Great Vi olinists of Our Time”. Alexandre Dubach plays an Antonio Stradivarius violin.

Biography of Marc Fitze see concert of 10 June, 12:30 pmEntrance free – recommended donation CHF 30 – 40

Friday 17 June 2016



8 countries

> 9:00 pm

Claudio Brizi and the

Tascabile Orchestra (Italy)

with film projection on

large screen

Heiliggeistkirche

The silent film “The Assassination of the Duke of Guise” by the Lafitte brothers was the world’s first film with original music. The music was specifically composed for the film by Camille Saint-Saens. At every showing, his opus 128 was played. For film viewers in 1908 it was a sensation to see such a cast of top quality actors: the main roles were played by actors of the Comédie Française. But it was obvious from their pantomime-like acting and the rigid camera technique that filming was completely different from the theater. This film was, then, a milestone in the history of cinema. Claudio Brizi (Harmonium and Direktion), Giulio Giurate (piano) and the Tascabile Orchestra will play the film music of Saint-Saens in the original score for piano, harmonium, two vio-lins, viola, violincello and contrabass.

Born in Taranto in 1964, Giulio Giurato completed his piano diploma at the G.B.Martini Conservatory in Bologna with Valeria Cantoni, and continued his studies with Jörg Demus and others. Since 1984 he has pursued an intensive soloist career, and played in various chamber music ensembles. He has appeared in Egypt, and in all major Italian cities, as well as elsewhere in Europe. His repertoire includes over 300 works from Bach to Shostakovich, and has worked in music theaters with actors and prominent film personalities such as Riccardo Cucciolla, Roberto Herlitzska, Giancarlo Gianni, and Ugo Pagliai. Since 1998 he has performed in various concerts for 4 hands with Jörg Demus, which has profoundly influenced his understanding of music. He teaches chamber music at the Conservatory of Parma. In 2000 he founded the “Schuber Trio” with the two brothers Roberto and Andrea Noferini, and recorded the entire work of Schubert for pi-ano trio, under the label Tactus. At present he is recording the entire chamber music works of Marco Enrico Bossi on five CDs. In March 2015 Giulio Giurato and Paola Borganti released a CD of Bossi’s piano work for 4 hands.

Biography of Claudio Brizi see concert of 15 June, 9:00 pm


Friday 17 June 2016



8 countries

> 9:30 pm

Emmanuel Pélaprat,

Harmonium (France)

Hommage à Schartel

Heiliggeistkirche

Emmanuel Pélaprat is an exceptional figure in the French music world: he is active in research and as a performer. Born in Toulouse, he studied harpsichord with Jan Willem Jansen, and organ with Michel Bouvard. After winning sev-en competitions he studied at the Conservatoire National Supérieure de Musique et Danse in Paris, where he earned two diplomas and five first prizes. He is one of very few mu-sicians who have won three first prizes in various disciplines in the same year.

• Rudolf Schartel Aus Wald und Feld (From Wood and Field), romantic studies, op.131. Tages Erwachen – 2. Feldfrieden – 3. Was die Erlen am Bache erzählen – 4. Libelle (daybreak – peaceful fields – what the alders say – dragonfly)Swansong – a tone poem op.18Scheherazade (2 Fairy Tales, no.2)

A passionate researcher, Emmanuel Pélaprat has written about the French composers Aymé Kunc (1877–1958) and Benjamin Godard (1849–1895), and is currently completing his doctorate about the harmonium. He has been on the faculty at the University of Bordeaux III since 2005, and is the organist at Notre-Dame-de-Taure in Toulouse. He has performed Rossini’s Petite Messe solennelle with John El-iot Gardiner, and is currently working on a performance of Gabrial Fauré’s Symphony in F major for organ ad orchestra, and, together with Jacques Prévot, is directing the new pub-lication of harmonium music editions of the firm Mustel.


Friday 17 June 2016



8 countries

> 10:00 pm

Joris Verdin, Harmonium

(Belgium), Harmonium

works of Belgian com-

posers

Heiliggeistkirche

Joris Verdin is an organist and musicologist, now professor of organ at the Royal Conservatory in Antwerp, and at the Universtiy of Leuven. His repertoire is vast, ranging from works of the old masters to the modern. He was named “or-ganista honorario” in Torre de Juan Abad in Spain, on the historic organ of Gaspar de la Redonda from 1763. He has recorded over 40 CDs, in May 2000 he received the “Diapason d’Or”, and in March 2001 the “Cecilia Prize” of the Belgian music press. He is the artistic director of the Gotenburg In-ternational Organ Academy. Joris Verdin also composes and is actively involved in publishing: his publications include the complete edition of César Franck’s works for harmoniuum, a handbook in Dutch, English and French on harmonium technique, and facsimile editions of 19th century works and musicological papers.

• Edouard Grégoire (1852–1890) Caprice original pour Harmoniophone (1854)

• Clément Loret (1833–1909) Le Zéphyr

• Victor Dubois (1832–1869) RêverieElégie from “6 Compositions pour Harmonium”

• Charles Loret (1835–1870): Souvenir de Madrid

In 2002 Joris Verdin was named Musician of the Year at the Flanders Festival. Since 2007 he has been the artistic direc-tor of the Voix Celestes program in Royaumont, France. In 2011 he received the German Recording Critics’ prize, and in 2012 once again the “Diapason d’Or” for his recording of Lefébure-Wély’s suites for harmonicorde. The American Record Guide wrote in 2011: “Verdin, the apparent dean of harmonium players, certainly knows how to get the most from the harmonium.” Verdin’s recording with the Capella Flamenca of the organ music of Willaert was awarded nu-merous prestigious prizes.


Friday 17 June 2016



8 countries

> 10:30 pm

Marc Richli, Celesta organ

Otto Georg Linsi, Baritone/

Speaker(Switzerland)

Heiliggeistkirche

This program will fulfill all expectations of what the ex-pression „Fin de Siècle“ (end of the century) connotates: perfumed sound, dramatic lyricism, fantastic-grotesque im-ages, amusing kitsch.The central figure of the program is Al-phonse Mustel, grandson of the ingenious Victor Mustel, and co-owner with his father Auguste of the firm „Mustel Father and Son“. Alphonse Mustel was an instrument builder, com-poser, author of professional papers about the harmonium, and tireless concert musician. He undertook an extensive tour to Constantinople, St. Petersburg and Moscow in 1899. The following year he played in Berlin and Leipzig, on the very same instrument that you hear tonight.

• Alphonse Mustel (1873–1937): Ballade fantastique op.9 (1894)musical adaptation of a poem by Eren Dobselt

• Léo Pouget (1875–1930): Hymne Profane („à Alphonse Mustel“)melody with celesta organ accompaniment(poem by René Delbost)

• Jules Mouquet (1867–1946): L’Eglise du village (village church)for singer with accompaniment by celesta organ(poem by A. Deschamps)

• Théophile Sourilas (1859–1907): Attente melody accompanied by celesta organpoem by j. Bonhoure

• Alphonse Mustel Au Pays Breton op.25, 1899 (in Brittany)shadow piece in 6 tableaux with symphonic adaptationpoem by René Delbost, tableaux by Eugène Freywith screen projection

The composer Léo Pouget, the poet René Delbost and the painter Eugène Frey must have been friends of the the Mus-tel family. Besides their works which were published by the Mustel firm, a book by Delbost (Georges Berr and René Del-bost: The Three Dictions, Paris, year unknown), and a monu-mental poster by Frey („Mustel, Paris, Harmoniums and Ce-lestas“), nothing else about any of the men could be found. Jules Mouquet is somewhat better known: His years of birth and death and several of his works have come down to us. The longest piece of this concert, „Au Pays Breton“, was per-formed for the first time by the authors on 26 January 1899.


The composer Alphonse Mustel played, the poet Delbost re-cited the „Légende dramatique“, and the painter Frey did the projection with the laterna magica. The name Eren Dobselt is an acronym for René Delbost.

Mark Richli was born in Lucerne in 1964 and studied organ and harpsichord in Zurich and Winterthur, and at the same time several semesters of musicology at the University of Zurich. From 1991– 2016 he was the main organist at St.Jo-seph‘s in Zurich, where he organized the Zurich Harmonium Days in 2001. Since 1983 he has played concerts on the or-gan, harpsichord and harmonium in Switzerland and abroad, either as a soloist or in ensembles. He is intensively interest-ed in historical instruments, harpsichords, pianofortes, har-moniums, and is an internationally respected expert restor-er of Mustel harmoniums, Erard grand pianos and Debierre organs. In 2004 he wrote the article „Mustel“ for the second edition of the famous encyclopedia MGG. For many years he had the sole access rights to the strictly guarded archives of the Mustel famiy firm in Paris. His CD recording of both sonatas op. 36 and 46 by Sigfrid Karg-Elert for harmonium is considered a reference recording. He has been a mem-ber of the Karg-Elert Sciety since 1989, and is currently the chairman. He is also the Socialist Party member of the City Council of Zurich, Council secretary, and „visiting specialist“ for employee assessment at the Music School Conservatory of Zurich.

Otto Georg Linsi is Swiss with Italian, German and Polish roots. He received his musical education with Glenys Linos, Zurich/Vienna, and Elisabeth Züblin Tymoschenko, Zurich/Kiev, and also in France and Italy. He pursues an active con-cert and opera career, mainly in France. He has appeared with the national Philharmonic and the National Music Acad-emy in Kiev, Ukraine. His recording of Honegger‘s Jeanne d‘Arc au Bûcher (Joan of Arc at the Stake) won the Grand Prix du Disque.

Saturday 18 June 2016

> 3:00 pm

General Assembly Jehan

Alain Association with

Guy Bovet (Neuchâtel) and

Aurélie Décourt (Paris)

Presentation of the

digitalization project of

Jehan Alain’s manuscripts

(in French)

Entrance free, open to the

public

Heiliggeistkirche

The music of the French composer Jehan Alain (1911–1940) belongs to the most popular and most-often played organ works of the 20th century. A great treasure chest of cham-ber and piano music, as well as vocal works remains for the public to discover, as are numerous drawings and written texts. The Jehan Alain Association now owns the house or-gan which Albert Alain, father of Jehan, built between 1910 and 1971. This magnificent instrument was carefully re-stored and is now accessible to the public in the wonderful surroundings of the Cluny cloister of Romainmôtier, Swit-zerland. The Association also preserves a large harmoni-um which once belonged to Albert Alain, and has taken on the responsibility of maintaining these instruments and the many private documents which the family of Jehan Alain has entrusted to the Association, and making them known to the public through concerts, courses and seminars.

Digitalization of the manuscriptsThe Association is currently working on the project of digi-talizing all the available manuscripts of Jehan Alain’s organ works, with the goal of making source studies available to the public, and of giving musicians the tools to wade through the various editions of Jehan Alain’s works in order to make responsible decisions as to their interpretation. Guy Bovet will explain the current status of the project.

Introduction to the Oratorium “The Flight into Egypt” by Albert AlainAurélie Décourt, musicologist and granddaughter of Albert Alain will present an introduction to the oratorium “The Flight into Egypt”, which will then be performed for the first time in Switzerland today at 5:00 pm. Albert Alain’s oratori-um in 4 scenes for women’s choir of 3 voices and soloists, with piano or harmonium accompaniment, was composed 22–27 March 1937. The stage sets were created by Maurice Denis, a friend of Albert Alain.


> 5:00 pm

Vocal Ensemble

Les Voc-à-Lises

Marc Fitze, Harmonium

Heiliggeistkirche

Repeat

performance of the

Oratorium “Hypatia” by

Wael Sami Elkholy in the

church service of

Sunday 19 June 2016

> 10:30 am

In connection with the National Day of Refugees, two half-hour oratoriums will be performed. Whereas Albert Alain’s oratorium “The Flight into Egypt” is based on the New Testa-ment Christmas story, the oratorium “Hypatia” by Wael Sami Elkholy, who lives in exile in Switzerland, is concerned with women refugees and religious wars, based on the historical figure Hypatia. Hypatia of Alexandria (born in 355 AD, died in March 415 or March 416 AD) was a Greek mathematician, astronomer and philosopher. A non-Christian, she belonged to what was then the minority of Alexandrians, but she was allowed to teach freely and was highly respected. Ultimate-ly, envy and religious fanaticism made her and her followers the victims of fatal intrigue.

• Albert Alain (1880–1971):Oratorium “The Flight into Egypt” (Swiss première)for 3 women’s voices and harmonium

• Wael Sami Elkholy (*1976) Oratorium “Hypatia” (Swiss première)for 8 women’s voices and harmonium

Composer Wael Sami Elkholy writes about his work: Con-sidering the political situation in the Middle East today, the biography of Hypatia begs to be made known, and a compo-sition for women’s choir is the ideal medium. The Ensemble Voc-à-Lises represents Hypatia. Poems by women of various centuries and languages (German, Old High German, Lat-in, English and Arabic) form the basis of the tutti sections, and the few surviving texts that we have of Hypatia are sung as solo recitatives . Since my composition begins with death and ends with truth,it should illustrate that despite violence and injustice, the hope of peace and freedom should nev-er be abandoned. The oratorium is composed in the classic contemporary style with traditional oriental patterns. The overall sound should transport us back to the 4th–5th cen-turies. In the first part, the horror of the Dance of Death with groaning and screaming represents the apocalypse, and a dissonant waltz symbolizes the absurdity of it all. The fugue section represents life and flight. Hypatia is torn between her strong convictions and her fear and longing for freedom. The third part with the gentle sounds of the harmonium rep-resents love. Emancipation and freedom have to be earned. The fourth part is a struggle among voices, words and lan-guages, something like brainstorming, in which ideas, hopes and dreams literally light up from all directions. The final section reveals Hypatia’s legacy of truth and wisdom as a guideline for our own lives and thought.

The Ensemble Voc-à-Lises was founded in 2007. The eight professional singers Tabea Bürki, Edith Keller, Rachel Kessler, Kazuko Nakano, Bettina Pflugshaupt, Simone Rychard, Ursula Krummen Schönholzer and Amanda Schweri have a wide repertoire, from the music of Hilde-gard von Bingen to sacred Russian Orthodox music to the a cappella mass of André Caplet and contemporary music. Monika Nagy conducts the Swiss première performance of “Hypatia”.

Libretto Hypatia

1. Tod(Mutterland)Mein Vaterland ist tot sie haben es begraben im FeuerIch lebe in meinem Mutterland Wort Rose Ausländer (1901–1988)

I have triumphed over both life and death, because I no longer desire to live, nor do I any longer fear to die. Nawal El-Saadawy (1931–2015), Woman at Point Zero

2. Leben/Flucht«Das Leben ist Entfaltung, jeder Schritt lehrt dich erkennen.Begreif, was vor der Türe liegt,und eher wirst du dann verstehn,was hinter ihr dich noch erwartet.» Hypatia (355–415)

Ich möchte leben. Ich möchte lachen und Lasten heben und möchte kämpfen und lieben und hassen und möchte den Himmel mit Händen fassen und möchte frei sein und atmen und schrein. Ich will nicht sterben. Nein! Selma Meerbaum-Eisinger (1924–1942)

Fuge, fuge speluncam antiqui perditoris et veniens veni in palatium regis.(Fliehe, fliehe aus der Höhle des Alten Zer-störers und komm, komm in den Palast des Königs.) Hildegard von Bingen (12.Jh.)

Nein. Das Leben ist rot, Das Leben ist mein. Mein und dein. Mein. Selma Meerbaum-Eisinger (1924–1942)

3. Liebe«Ich hatte nie ein eigenes Leben, und nun frage ich mich, was hat das für einen Sinn? Wen habe ich je geliebt?» Hypatia ( 355–415)

Ich sturbe gerne von minnen,möchte es mir geschehen;den jenen, den ich minnen,den han ich gesehenmit minen liehten ogenin miner sele stan.Du minne mag nit wol vergan. Mechthild von Magdeburg (13.Jh.)

4. Freiheit/Emanzipation«Ihr stellt euren Glauben nicht in Frage – ich muss es tun. Wer mein Denken fesseln will,mit Angst vor Strafe in dieser oder einer anderen Welt, tut mir Gewalt an.» Hypatia (355–415)

Was hab’ich denn von allen, die mich lenken und zügeln wollen! Sie reden von Dingen, die meine Seele nicht achtet, reden somit in den Wind hinein.Das gelobe ich: Ich will mich nicht zügeln lassen.Ich will lieber auf das gewisse Etwas vertrauen,das in mir jubelt. Bettina von Arnim (1785–1859)

She is free to do what she wants, and free not to do it. I’m free to do what I want, and free not to do it. Nawal El-Saadawy (1931–2015), Woman at Point Zero

Sà abqa tudchàthebunil umnejàt Uà àh’lumu uà àh’lumu là àstafiqUà às àlu hàttà jamutus su àl(Ich verbleibe angezogen von Wünschen,und ich träume, träume und erwache nicht, und ich frage, bis die Frage stirbt.) Nazik El-malae’ka (1923–2007)

5. Wahrheit/Weisheit«Bewahre dein Recht zu denken; selbst falsch zu denken ist besser, als überhaupt nicht zu denken.»Hypatia ( 355–415)

They said, «You are a savage and dangerous woman.» I am speaking the truth. And the truth is savage and dangerous. Nawal El-Saadawy (1931–2015), Woman at Point Zero

«Wahrheit ist dein Weg zu sehen,wie dein selbst die Welt gewahrt.Wer da spricht: Ich kenne sie!Fasst den Sinn der Wahrheit nie.» Hypatia (355–41


> 7:30 pm

Gioacchino Rossini:

Petite Messe solennelle

Bernese Chamber

Orchestra, Martina Jankova,

soprano, Olivia Vermeulen,

alto, Bernhard Schneider,

tenor, Daniel Ochoa, bass,

piano duo Gerwig & Gon-

zales, Kurt Lueders,

Harmonium, Jörg Ritter,

conductor

Introduction to the concert:

Kurt Lueders, Sorbonne,

Paris


Second performance

Sunday 19 June

> 5:00 pm


The musicological world of source research into Ross-ini’s Petite Messe solennelle owes much to Professor Kurt Lueders. Complicated source material, as witnessed in the extremely varied editions of the work, mainly concerns the harmonium. No one knows the Petite Messe better than Kurt Lueder, and his presence in Berne will be an exciting expe-rience for all.

Tickets: CHF 62.– / 48.– / 38.– / 20.– Students reduced fee; children up to 14 freeOnline advance tickets: www.ticketino.com Tel.0900 441 441Direct sale: Swiss post offices, BLS train stationsBox office: 1 hour before concert

Gioacchino Rossini: Petite Messe solennelle for 4-part choir, soli, piano and har-monium accompaniment (1863–1867)

1 Kyrie (choir)2 Gloria (soli SATB, choir)3 Gratias agimus tibi (soli ATB)4 Domine Deus (tenor)5 Qui tollis peccata mundi (soli SA)6 Quoniam tu solus sanctus (bass)7 Cum sancto spiritu (choir)8 Credo (soli, choir)9 Crucifixus (soprano solo)10 Et resurrexit (soli, choir)11 Et vitam venturi (soli with choir)12 Religious prelude for the Offertory (instrumental)13 Ritornelle for the Sanctus (harmonium)14 Sanctus (soli, choir)15 O salutaris hostia (soprano solo)16 Agnus Dei (alto solo, choir)

Kurt Lueders is the organist of the Reformed Heiliggeist-kirche in Paris, and co-organist of the parish Saint-Maurice de Bécon-lès Bruyères. For many years he was a professor at the University of Paris–Sorbonne and at the Conserva-toire de Plaisir (Yvelines) near Versailles. In his capacity as an organ specialist and expert in the organ repertoire of the 19th century, Kurt Lueders has published numerous papers and given concerts, lectures and master courses through-out Europe, North and South America, and Japan, and has contributed to music encyclopedias. Since 1978 he has been vice-president of the Aristide Cavaillé-Coll Association and editor of the music magazine “La Flûte Harmonique”. 1986–1999 he was president of the I.S.O (International So-ciety of Organbuilders). Kurt Lueders was born and raised in the USA. He studied music at Yale University and in Paris with Maurice Duruflé, Edouard Souberbielle, André Fleury and Stéphane Caillat. He completed his doctorate at the Uni-versity of Paris–Sorbonne with a dissertation on the French composer Alexandre Guilmant (1837–1911).

For further information and biographies see the program notes of the Bernese Chamber Choir.

“Petite Messe solennelle” by Gioacchino Rossini

“Dear God – my poor little mass is finished. Is it sacred music

(musique sacrée) or is it just damned good music (sacrée mu-

sique)? You know very well that I was born for the Opera buffa.

Not much knowledge, a little bit of heart, that’s all. So be prai-

sed, and grant me a place in paradise.”

With this ironic dedication to the Lord, Rossini completed the manuscript of his Petite Messe solennelle in 1863. On the title page he calls his mass, which was his final work, “unfortunately the last deadly sin of my life.” These lines betray not only the self-mockery of the composer who had years earlier decided to give up composing after the tremendous success of his opera William Tell, but also the misunderstanding that his spiritual works met. The German music world criticized Italian church music already at the beginning of the 18th century, and labelled Rossini’s sacred compositions “worldly” and too opera-like, although Rossini nev-er gave in to the temptation (as did Mozart) to set a sacred text to a successful opera aria, and perform it in church.

In his “little” Messe solonnelle, which actually fills a full 90 minutes, there is not only “a little knowledge and a little bit of heart”, but rather Rossini’s profound knowledge of sacred music composition. The mass reveals solid handiwork and a wealth of references to Palestrina, Bach and Beethoven’s massive “Missa sol-emnis”.

“Petite”, if not ironically meant, may also refer to the modest scoring for 4 soloists, 8 choir singers, 2 pianos and a harmonium, adapted to the room of the première performance. The mass was first heard on 13/14 March 1864 at the dedication of the private chapel of Rossini’s friend and banker Count Michel-Frédéric Pillet-Will and his wife Countess Louise Pillet-Will, to whom the work is dedicated. The fact that already at the first performance the choir of conservatory students was en-larged to 18 singers, tells us that Rossini’s scoring for only 12 singers was mainly symbolic, and that performances today with larger choirs are not inappropriate. The choice of piano and harmonium accompaniment follows a French tradition. Since the invention of the harmonium by Alexandre Debain in Paris in 1842, mass-es which were accompanied only by piano and harmonium were very popular. Gounod, Grandval, Guilmant and many others contributed to this music genre. Even after his orchestration of the “Petite Messe solennelle” Rossini preferred the chamber music version, but this, of course, demands that a trained harmonium player has mastered the technique of playing a pressurized wind harmonium.

Giaccomo Meyerbeer was among the prominent guests invited to the Pillet-Will home. It is amazing that neither he nor any of the musicians who were present ever mentioned the fact that Rossini’s “Christe eleison” borrowed the “Et incar-natus est” note for note directly from his friend Louis Niedermeyer’s “Messe sol-onnelle” which debuted on St.Cecilia’s Day in Paris in 1849. Rossini’s pseudo-pla-giarism was probably meant as a compliment in memoriam to the man who did much to restore sacred music, and who had died a year earlier on the very date (14 March) that Rossini’s Petite Messe solonnelle was first performed. Whereas Ross-ini’s Kyrie and Niedermeyer’s composition both witness to the sleek vocal lines of Palestrina, Rossini’s monumental fugue at the end of the Gloria and the double fugue at the end of the Credo both clearly point to Beethoven’s “Missa solemnis”, without a hint of copying.

The Crucifixus is often called the most beautiful melody in Italian belcanto, without having the slightest relation to the liturgical text. But when viewed more close-ly it is clear the Rossini knew very well what he was doing: the Crucifixus is re-peated four times, the soprano modulating upwards with each repeat, symbol-izing Christ’s being raised on the cross. Toward the end, the soprano modulates downwards four times, symbolizing the “Et sepultus est”, He was buried. The next pause, during which the dark A-flat major chord of the Crucifixus modulates to the brighter B-major “Et resurrexit” (He rose again), should be understood as a nod to Beethoven, who once wrote: “Death must be expressed with a pause.” In the monumental double fugue “Et vitam venturi saeculi. Amen” (and the life of the world to come. Amen), Rossini combines two traditional musical symbols to express eternal life: a three-note chord on “et vitam venturi” – since the Baroque a symbol of purity and perfection – and the rising scale “Amen”, which symbolizes the resurrection.

The instrumental interlude “Prélude religieux pour l’Offertoire”, which comes be-fore the Sanctus, goes back to the liturgical tradition of playing a special piece during the offertory of the Eurcharist, as mentioned by Adriano Banchieri in his Handook for Organists 1611. Following this tradition and in order to emphasize the festive character of his mass, Rossini inserts a solo piece for harmonium just after a few measures of introduction by the piano. In this fugue for 3 voices, Ross-ini reminds us of membership in the Bach Society and Rossini’s own profound knowledge of Bach’s Wohltemperiertes Klavier. Rossini’s typical melodies blend wonderfully with the counterpoint of Johann Sebastian Bach. The soprano aria “O salutaris hostia”, which Rossini only added later in the orchestrated version, and the Agnus Dei which recalls the lyricism of Bellini, have hardly any relation to the sacred music tradition. “This is no music for you Germans; my holiest music is only just half serious”, Rossini once said. But the Parisians received the perfor-mances of the “Petite Messe solonnelle” with enormous enthusiasm, although the Pope had refused Rossini’s request to perform the mass in churches because women’s voices were forbidden in church. The music critic August Wilhelm Am-bros explained Rossini’s seriousness in the following words: “He was serious, but his seriousness was really cheerfulness born of a kind spirit. He is the lark during morning matins, that flies up – to heaven!”

Marc Fitze

Friday 24 June 2016

> 12:30 pm

Orgelpunkt:

”Polyphony of Cultures”-

Festival Final Concert

Julien Paillard, Accordeon,

Antonio Garcia, Organ

Heiliggeistkirche

Julien Paillard was born in Geneva in 1986, and lives in Schliern, near Köniz. He began to play the accordeon as a seven-year-old, and is at home in many different music worlds: classic,folk, modern and jazz. He studied with Teo-doro Anzelloti at the Hochschule der Künste Bern and with Stéphane Chapuis at the Haute Ecole de Musique de Laus-anne. He has won prizes from the Youth Fund Geneva and the Friedl-Wald-Foundation in Basle.He is a composer, arranger and performer in various Swiss ensembles. He has taught at the Conservatory in Zurich since 2013.

• Bernardo Pasquini (1637–1710): Sonata in re minore a due bassi continuiAllegro – Adagio – Vivace

• Julien Paillard (*1986): “Pieuvre” for accordeon and organ

• W. Friedeman Bach (1710–1784): Sonate für zwei Claviere in F-Dur “Duetto”Allegro e moderato – Andante – Presto

• Astor Piazzolla (1921–992): Balada para un organito loco from “Maria de Buenos Aires”

Biography of Antonio Garcia see concert of 10 June, 5:00 pm


ImpressumTexts: Marc Fitze, Silvano Cerutti, Urs Hangartner, Antonio Garcia, Evelyn and Kristina Brunner, Joris Verdin, Michel Dieterlen, Artis Wodehouse, Anja Wernicke und Thomas Strässle (Hermann Burger), Jacques Prévot, Anne Page, Wikipedia (Film: Assassinat du Duc de Guise), Mark Richli und Wael Sami Elkholy. English translation: Linda Rickli; Graphic design: Renata Hubschmied, Bern; Photos: zvg; Print: Geiger Druck, Bern

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