Performers
Ārt House 17
Lidewij van der Voort, Violine
Barbara Konrad, Violine
Georg Kroneis, Viola da gamba, Basse de violon
Sofie Vanden Eynde, Laute, Gitarre
Ivan Trenev, Akkordeon
Dame Emma Kirkby, Sopran
Jalda Rebling, Chasan
Thomas Höft, Schauspiel, Dramaturgie
Adrian Schvarzstein, Schauspiel, Szenisches Konzept
Bettina Dreißger, Kostüm
Michael Hell, Blockflöten, Cembalo, Musikalische Leitung
Programme
Anonymus
El cant dels ocells »Der Gesang der Vögel«. Katalanisches Weihnachtslied
Gasparo Zanetti
La Mantouana
Anonymus
Geh nun in Frieden, Regen. Piyyut aus der sefarischen Pessach-Liturgie
Biagio Marini
Passacaglio a 3 (1655))
Passacaglio a 4 (1655))
Robert Johnson
Woods, rocks and mountains
John Dowland
Semper Dowland semper dolens
Now, o now I needs must part. Lied mit Consort F I/12 (1597))
Anonymus
Der starken Frau. Piyyut
An italian rant (1663))
Salomone Rossi
Sinfonia XVI (1608))
Shtil di Nakht. Jiddische Suite
John Dowland
Flow, my tears F II/6 (1600))
Johann Schop
Lachrimae pavaen (1646))
Ibn Gavirol
Adon Olam. Piyyut
Biagio Marini
Sonata XXI Sopra Fuggi dolente (1655))
John Dowland
Come againe, sweet love doth now invite F I/66 (1597))
Salomone Rossi
Sonate duodecima sopra la Bergamasca (1642))
Anonymus
Dem nächtigen El jubeln wir. Piyyut aus Afghanistan zu Simchat Tora
Note
Unterstützt von BUWOG
Medienpartner Ö1 Club und Der Standard
Subscription series
»Resonanzen«-Abo
4er-Package »Resonanzen«
Festival
Resonanzen »Unterwelten«
Links
https://www.arthouse.community
On January 27, 1945, the Red Army liberated the Auschwitz death camp. Along the complex layers of this commemoration, the artist collective ĀRT HOUSE 17 carefully and cautiously, but in the course of the evening more and more confidently, feels its way out of the darkness of a nameless misfortune into the light. Even before the concert actually begins, individual musicians stand at various strategic positions at/inside the concert hall and play short, melancholy pieces like street musicians. The scene on stage contains short, intimate rituals like breaking bread and showing old photos. Short texts of remembrance connect the works of Jewish baroque composers and two simple melodies, rich in history, return musically multiform like multilingual prayers.