Performers
Anna-Lena Elbert, Sopran
Evangelina Mascardi, Renaissancelaute
Angélique Mauillon, Barockharfe
Friederike Heumann, Viola da gamba, Lyra-Viol
Programme
Gehen
Robert Jones
Love wing'd my hopes (The Second Booke of Songs and Ayres)
Whither runneth my sweetheart (The Second Booke of Songs and Ayres)
O how my thoughts doe beat me (The Second Booke of Songs and Ayres)
My love bound me with a kiss (The Second Booke of Songs and Ayres)
William Corkine
Walsingham (The Second Booke of Ayres)
Tobias Hume
Fain would I change that note (The First Part of Ayres) (1605))
Harke, harke – Woope doe me no harme (The First Part of Ayres) (1605))
What greater grief (The First Part of Ayres) (1607))
Henry Purcell
Strike the viol (Come ye sons of Art, away. Birthday Ode for Queen Mary Z 323) (1694)
John Danyel
Passymeasures Galliard
Henry Purcell
One charming night (Arie des Secrecy aus »The Fairy-Queen« Z 629) (1692)
T'was within a furlong of Edinborough Town (The Mock Marriage Z 605) (1695)
***
Robert Jones
Now what is love (The Second Booke of Songs and Ayres) (1601))
Come sorrow (The Second Booke of Songs and Ayres) (1601)
René Saman
Monsieur Saman his Coranto (Varietie of Lute-lessons)
Robert Jones
Dreames and imaginations (The Second Booke of Songs and Ayres) (1601)
Thomas Ford
A pill to purge melancholie (Musicke of Sundrie Kindes) (1607)
John Dowland
Preludium (The First Booke of Songes or Ayres) (1600) ca.)
If my complaints could passions move F I/8 (The First Booke of Songes or Ayres) (1597))
William Corkine
Pavin (The Second Booke of Ayres) (1612)
If my complaints (The Second Booke of Ayres) (1612)
Robert Jones
Fie fie (The Second Booke of Songs and Ayres) (1601)
Mee thought this other night (The Second Booke of Songs and Ayres) (1601)
Note
Medienpartner Ö1 Club und Der Standard
Subscription series
Resonanzen
4er-Zyklus Resonanzen
Festival
Resonanzen »Alte Meister«
The mode of locomotion of walking at very different speeds is of elementary importance in the work of the passionate car driver Thomas Bernhard. Bernhard himself was a »shoe fetishist« and had an aristocratic penchant for English handmade shoes in particular. This makes it all the more striking that his last novel is predominantly spent sitting down; (physically) exhausted either in the Hotel Ambassador or on the Bordone Hall bench in the Kunsthistorisches Museum. With »Grounds« and »Walking Basses«, Friederike Heumann & friends revive the memory of a salutary and/or exhausting walk and, with a purely English-amorous repertoire, remind us of the second level of the »Old Masters« as that of an existential love story.