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K&K Verlagsanstalt K&K 95
2006
A concert hosted by Klosterkonzerte Maulbronn
at the UNESCO Wolrd Heritage Site Maulbronn Monastery, June 2005
1. Konzertbeginn / Concert Start [0:33]
2. Psalm 115: „Nicht uns, o Herr ...“ [3:36]
Kodex Nikolaus Apel (um 1470 - 1537)
3. Benedicamus Domino [0:35]
Gregorianischer Choralabschnitt
4. Gross bist du, Herr... [0:26]
aus: Confessiones, erstes Buch, Kapitel 1 | Aurelius Augustinus (345 - 430)
5. Benedicamus Domino [1:53]
St. Martial, Organum, anonymus (12. Jh.)
6. Ich liebe dich, Herr... [1:12]
aus: Confessiones, zehntes Buch, Kapitel 6 | Aurelius Augustinus (345 - 430)
7. Benedicamus Domino [2:09]
Motettischer Satz | GHIRARDELLUS de FLORENZIA (14. Jh.)
8. Wenn ich scheine musst Du leuchten... [1:05]
Mechthild von Magdeburg (1210 - 1283)
9. Aucun ~ Amor ~ Kyrie [1:52]
Kodex Montpellier, Motette | anonymus (13. Jh.)
10. „A“ setzen wir, das ist unser Herr und Gott... [1:48]
aus: „Ars maior“ (1273), Über die Figur „A“ | Ramon Lull
11. Tribulatio proxima est [2:13]
Doppelhoquetus über dem Tenor „David“ | GUILLAUME de MACHAULT (um 1300 - 1377)
12. Oh Himmel-König... [0:53]
Der Kanzler (um 1300)
13. Christe ~ Veni creator ~ Tribulalatio [3:50]
Geistliche Motette | GUILLAUME de MACHAULT (um 1300 - 1377)
14. O Mensch, bezeichnet und geziert ... [0:41]
Meditation über die menschliche Natur zugeschrieben: Bernhard von Clairvaux (1091 - 1153)
15. Nova laude, terra, plaude... [2:00]
Benedicamustropus, Benedictinerinnenkloster, Konstanz | anonymus (um 1300)
16. Omnis mundus ~ Omnes nunc [1:42]
Weihnachtsmotette | anonymus (14. Jh.)
17. Wie uns die Heiligen helfen [0:41]
St. Paulis Regeln für die Pauren. Aus dem Liederbuch der Clara Hätzlerin (1471) | anonymus
18. Arcangel San Miguel... [1:55]
Dreistimmiger Satz über ein Volkslied aus: Cancionero musical del Palacio | LOPE de BAENA (um 1500)
19. Der heilige Erzengel Michael [1:38]
aus dem Handbuch der Heiligen
20. St. Martein, lieber Herre ... [2:10]
HERMANN, Münch von SALZBURG, (2. Hälfte 14. Jh.)
21. Quem terra, pontus, aethera ... [3:48]
Ambrosianischer Marienhymnus | Zisterzienser-Stift Heiligenkreuz (um 1300)
22. Durch die Frau kamkamkam das Übel - durch die Frau kamkamkam das Gute... [0:50]
Ambrosius von Mailand (gestorben 397), Predigt XLV
23. Ad laudes marie cantemus hodie ... [1:09]
Benedictinerinnenkloster, Konstanz | Gregorianischer Conductus (12. Jh.)
24. Einen gekrönten reien... [5:40]
Kolmarer Liederhandschrift | HEINRICH von MÜGELN (um 1350)
25. Sancho Pansa: „Und hätte ich auch nichts anderes...“ [0:23]
aus Don Quijote | Miguel Cervantes (1547 - 1616)
26. Praeludio: „Santa Maria amar ...“ [2:42]
CSM 7
aus: „Cantigas de Santa Maria“ | ALFONSO el SABIO (reg. 1252 - 1284)
27. Gran dereit ... [3:48]
CSM 34
aus: „Cantigas de Santa Maria“ | ALFONSO el SABIO (reg. 1252 - 1284)
28. Nachdem der Heide alle Darlegungen angehört hatte... [1:18]
aus: Das Buch vom Heiden und den drei Weisen (1275) | Ramon Lull
29. O flos flagrans... [3:17]
Codex Aosta (Geistliches Chanson) | JEAN BRASSART (15. Jh.)
30. Vergine bella... [3:54]
Trienter Kodices (Chanson), Text Petrarca |
GUILLAUME DUFAY (1400 - 1474)
31. Ave mater o maria ... [5:57]
Wiener und Innsbrucker Wolkensteinhandschrift |
OSWALD von WOLKENSTEIN (um 1377 - 1445)
32. Predigt: „Der Tanz ist ein Ring oder Zirkel, des Mittel der Teufel ist ...“ [0:53]
„corea est circulus cuius centrum est diabolus ...“
Deutsche Übertragung aus einer Wiener Handschrift des 15. Jahrhunderts
Hieronymus von Prag (1416 in Konstanz verbrannt)
33. Chadivaldi [3:29]
Tanz aus einer Vysehrader Handschrift (14. Jh.) | anonymus
34. „Wie schon oben gesagt...“ [3:13]
[ inc. Chadivaldi ]
aus: Summa II, quaestio 168, Artikel 3 | Thomas von Aquin (um 1225 - 1274)
Artists
Birgit Kurtz — Sopran
Florian Mayr — Kontratenor
Kurt Kempf — Tenor
Erich Klug — Bass
Klaus Walter — Laute
Michel Walter — Zink
Eva Brunner — Diskantstreichinstrumente
Gebhard Chalupsky — Rohrblattinstrumente
The Les Menestrels
Ensemble was founded in 1963 by Klaus and Michel Walter. Their original
involvement with the music of the 20th century eventually led to an
interest in the structural polyphony of 14th and 15th-century music, as
exemplified by the Ars Nova in particular. The works of this period
continue to be the group’s main focus, although their repertoire has
expanded to include works written up to about 1600. Their historical
instrumentarium has gradually grown to enable as faithful a reproduction
as possible of each period’s characteristic sound. Les Menestrels
achieved their first major success at the 1965 Wiener Festwochen (Vienna
International Festival) with their staged performance of the cantefable
“Aucassin und Niclolete,” for which H.C. Artmann contributed the
translation. To programmes consisting entirely of concert music they
subsequently added programmes with a literary thread, or those that
included staged performances. The group has not entirely forgotten its
origins in the contemporary music field, however. One of their
programmes features a comparison of parallel aspects of old and new
music. Depending on the programme, four to ten singers and
instrumentalists participate in the ensemble’s concerts. They have
access to some 70 historical instruments authentic to the period between
1200 and 1600.
The Performance
Play and
pleasure are necessary to the sustenance of human life. However, all
services useful to human sustenance must be regarded as permissible.
Therefore, the services of menestrels, which are intended to provide
cheer, are not a forbidden thing, provided that they are not in a state
of sin, and they exercise moderation in their playing - namely that they
use no hateful words and do not begin playing during work or at
forbidden times. And those who support the menestrels are not committing
sin! Rather, they deal justly when they give them for their services
that which is their due. “As stated above…” from: Summa II, quaestio 168, Article 3
Texts
and music from the spiritual world of the European Middle Ages form the
subject matter of this programme, which the Les Menestrels Ensemble has
put together specially for this performance held in the monastery
church at Maulbronn. One is astonished by the abundant variety of
language and subject matter on offer here. Yet perhaps even more
astonishing is the widespread, cross-border dissemination of a body of
religious and cultural thought that flourished outside church walls. In
today’s monotonous popular culture, shaped as it is by the dogma that
what sells is what matters, cultural and human values no longer enjoy
pride of place. Linguistic standardisation is pursued aggressively, and
dialects, expressions and cultural resonances travel beyond regional
borders in only the rarest of cases. In the song as cultivated in the
Middle Ages, however, we find a linguistically multifaceted culture; one
that is, in this sense, truly more European. Modern media have wrought
little improvement. On the contrary, inquisitorial surveillance has
found its match in the uniformity-enforcing filter of a profit-oriented
business management “culture.” The Church may well have imposed strict
guidelines, as Klaus Walter describes in the notes below, but at least
the themes that were the focus of artistic creation were those by which
human beings are moved, and wit and subtlety challenged the human
intellect. Josef-Stefan Kindler
While liturgical music,
with its ties to the mass cycle, embodies a more or less uniform
spiritual outlook from one stylistic epoch to another, non-liturgical
sacred music presents a varied palette of expressive forms shaped by the
most varied manifestations of religious thought. We have selected some
of the most significant themes and complemented them with texts devoted
to similar or related subject matter. Most of these themes speak for
themselves. Klaus Walter
Gregorian chant Andreas Otto Grimminger & Josef-Stefan Kindler
Concerts and radio and television recording
sessions have taken the ensemble to nearly every European country and to
the USA, Canada and Japan. The ensemble has made recordings on the
Westminster, Amadeo, Belvedere and Mirror Music labels. Les Menestrels
have performed at festivals including the Vienna International Festival
(Wiener Festwochen), the Salzburg Festival, the Festivales d‘España, the
Festival Estival de Paris, the International Organ Week in Nuremberg,
the Passau European Festival (Europäische Wochen Passau), the Lucerne
International Music Festival, the Dubrovnik Festival, the Schwetzinger
Festival, Music in Old Krakow, Festivals in Osijek, Flanders, Istanbul,
Ljubljana, and Ochrid, the Maulbronn “Monastery Concerts,” and many
others.
Thomas Aquinas (c. 1225 – 1274)
Worship of God, pleas for the forgiveness of sins
and for divine benediction, cries for succour in various afflictions,
devotion to the Virgin Mary and appeals for intercession: these require
no explanation. One group of musical works, whose origins in a specific
philosophical approach to religion—scholasticism—are not immediately
apparent, may require some explanation. The intellectual movement known
as scholasticism does not present a uniform picture; common to all
scholasticists, however, was the conviction that the mysteries of faith
could be described or established by intellectual means. They were
fascinated not only by logic, but also by arithmetic and geometry.
Nikolaus Cusanus, for example, based his description of God on the
concept of an unending straight line, and religious speculations brought
Ramon Lull to the verge of discovering integral calculus (the “squaring
of the circle”). From time immemorial, the principle of “order” has
stood for the divine, for heaven; “disorder” is associated with the
earthly realm, if not indeed with the infernal. A visual representation
of plants with symmetrically arranged blossoms is a depiction of
paradise. We know that we are earth-bound when plants grow irregularly.
The movements of dancing angels always trace circles or other
geometrical figures. Dancing devils move in a chaotic mass. Sinners may
even dance upside down (depictions of Salome).
Numbers offered a
means by which to establish order and, in the process, reclaim for
oneself a bit of paradise. It is therefore no accident that many
scholasticists engaged in study of the Kabala, the doctrine of the
significance of number combinations. By imposing order on one’s conduct -
or on a composition - one was able to create in miniature an image of
heaven. The particular order imposed did not have to be readily
discernible. A de facto order sufficed.
In the course of the
fourteenth century, such thinking began to be reflected in music as
well. It was most readily applicable to the motet, a form that had
emerged already in the thirteenth century. The motet owed its very
existence to an intellectual principle: An excerpt of Gregorian chant
provided the tenor, which functioned as the composition’s foundation. It
was identified with the sacred (“auf Gott sollst du bauen” [Thou shalt build upon God]), as it had been in the earlier organum
of the Notre Dame school. The texts underlying the upper voices were
sung simultaneously, yet differed from one another, sometimes even with
respect to the languages they were written in. They were required,
however, to hold references to one another and to the text of the tenor,
even though the latter was usually suggested by a single word, if
indeed the tenor was not simply delegated to an instrument, as was often
the case. The upper voices (motetus and duplum) belonged to the worldly domain. In the motet “Aucun - Amor - Kyrie,”
the motetus conveys in Latin the view that carnal love incurs harm in
all circumstances - certainly in this world, to say nothing of eternity.
The duplum, however, asserts in the profane language (French) that love
is a source of bliss for those who fulfil certain conditions. It is
conceded, all the same, that but few human beings are capable of
fulfilling these conditions, both voices joining in the tenor’s “Herr, erbarme dich unser”
[Lord, have mercy upon us]. With the mystical poem by Mechthild von
Magdeburg we have added to these two aspects of love a third.
The
double hocket by Guillaume de Machaut is not, strictly speaking, a
motet at all, as its upper two voices are textless. All the same, it is
best thought of as belonging to this genre or, to be more precise, to
that of the isorhythmic motet. The term ‘isorhythmic’ refers to a
structural principle whereby rhythmic and melodic patterns are organised
on the basis of numerical relationships. In the 14th century, it found
its ideal application in the motet. The honour of being organised in
this manner naturally fell to the tenor. The upper voices were seldom
structured isorhythmically and, if they were, only in part (as in the
mass by Guillaume de Machaut).
In this double hocket, the tenor
melody is heard three times in the first section. The entire section is
made up of eight rhythmically identical segments (each isorhythmic
segment thus comprising three eighths of the tenor melody). In the
second section, the tenor is assembled from the first four notes of
every third isorhythmic segment in the first section, the tenor melody
thereby assuming its original shape. The upper two voices are, even
without texts, recognisably profane. Their movements, which appear to be
without form or pattern, suggest two cogs with irregularly spaced teeth
(the title itself refers to this type of motion: hocket < Fr. hoquet
= ‘hiccup’). As though miraculously, these teeth nonetheless succeed in
engaging one another, thanks to the iron grip of the inscrutable but
well-ordered tenor, a simulacrum of the bond between God and the world.
It may be that Kabalistic number symbolism occasionally played a role in
the isorhythmic motet, similar to the role it was recently demonstrated
to have played in the compositions of J.S. Bach. This method of
composition declined in importance towards the end of the 14th century;
however, the motet principle, whereby a strictly defined role is
assigned to each voice, continued to find expression in the cantus firmus technique, in which form it long retained its influence.
Much
more space is devoted to the theme of the Virgin Mary as reflected in
the musical and literary legacies, where it became virtually a
subspecies of the minnesang. It is no accident that the minnesang
and the cult of the Virgin Mary both reached their zenith at
approximately the same time. Virgin Mary veneration also afforded poets
and poet-composers certain advantages, some acknowledged, some no doubt
unacknowledged. It allowed one, for example, to compose poems to a
beloved lady under the guise of a Marian song. This is believed to have
been the background to Petrarch’s “Vergine bella,” for example.
But the Virgin Mary theme also made it possible to introduce human, and
therefore generally understandable, references to the otherwise often
very abstract architecture of the religious edifice. The most varied of
basic human impulses are addressed, such as the veneration of
motherhood, or the pleasure in awe as expressed in tales of miracles
performed by the Virgin Mary (Cantigas de Santa Maria). Alfonso
el Sabio commanded his entire royal household of scholars, poets and
musicians to gather every available report of such miracles, to put them
into words and music, and to write them down. That a number of
ethnocentric and anti-Semitic ideas also found their way into the
results of these efforts did not seem to trouble him, for all that he
had brought together at the university he founded in Cordoba—Christian,
Jewish, and Arab scholars alike. But Mary is also celebrated in
countless songs as a key to the patriarchy’s backdoor. The mother whose
son cannot refuse her request, according to established custom, if she
shows him her breast, and whose son for his part regains the power to
appease the wrath of God the Father (“ladder of salvation”), is invoked
as an intercessory. Most importantly, however, we should not overlook
the fact that many of the Marian texts and songs count among the most
beautiful of all the lyrical productions of the Middle Ages.
Composers
Strictly
speaking, the term “Gregorian chant” refers to the monophonic
liturgical chant of the Roman Catholic Church as it was collected,
developed and recorded in neumatic notation by Pope Gregory I (reigned
590–604). By the 9th century, it had culminated in the form preserved in
manuscripts of the 10th and subsequent centuries. In its broadest
sense, the term also encompasses all of the monophonic chants used in
other liturgies, some of them even before the time of Gregory I (e.g.,
Ambrosian, Mozarabic or Visigothic, Gallican).
Gherardello de Florenzia (1310–1370)
Little
is known about the life of this figure. He is one of the most important
representatives of the Italian Ars Nova. Most of his surviving works
are preserved in the Codex Squarcialupi.
Guillaume de Machault (c. 1300–1377)
Presumably born in Machault, de Machault began his career as a magister
and scribe. In 1323, he became secretary to King John of Bohemia, whom
he accompanied on journeys and campaigns throughout Europe (Prague,
Luxemburg, Lithuania, Paris, Silesia, Germany, Thorn, Königsberg, Italy,
Poland, Hungary, Austria, and Flanders). From 1337 on, he possessed a
prebend at the cathedral in Rheims, where he served as a canon in the
Marian chapel, remaining there until his death. Between 1361 and 1369 he
may, as a result of his connections to Pierre de Lusignan, have
travelled also to Cyprus and Alexandria. Nearly all of his works date to
the time of his canonry. His works include purely literary efforts in
addition to his musical compositions. Today he is recognised as the
greatest master of the French Ars Nova, one who was pre-eminent in his
ability to avoid the appearance of artificiality in complex musical and
literary forms and to allow these forms to develop logically from their
contents.
Hermann, Monk of Salzburg (second half of the 14th century)
The
true identity of this figure has remained a mystery to this day. He
appears to have lived in the second half of the 14th century at the St.
Peter monastery in Salzburg. Most of his numerous sacred and secular
songs are monophonic, though a few are written for two or three voices.
These are regarded as the oldest sources for polyphonic writing in
German-speaking lands. His songs may be found in over 100 different
manuscripts, the most important of which include the Mondsee-Wiener
Handschrift (HS 2856) and a manuscript from the Lambach monastery (HS
4696), both preserved in the Austrian National Library in Vienna.
Heinrich von Mügeln (14th century)
There
are no known dates for this figure. His praise of King John of Bohemia
implies that he was already writing before 1346. His translation of
Valerius Maximus is dated 1369. He was on good terms with the emperor
Charles IV and the archduke Rudolf IV of Austria. His poetry continued
in the tradition of Frauenlob, for which he was much esteemed,
particularly in Bohemia.
He employed well-known minnesang “tones” as
formal models, though some of the “tones” he used were also original.
They have been preserved in the Kolmarer Liederhandschrift and the Mondsee-Wiener Liederhandschrift.
Guillaume Dufay (1400–1474)
Educated
in Cambrai, Dufay was ordained a priest in Bologna in 1428. He then
served as a singer in the papal choir, following which he was active for
seven years at the Savoy court, eventually becoming chaplain to the
Duke of Burgundy. From around 1445 on he lived as a canon in Cambrai.
Dufay is considered to be the creator of the new style that developed in
the 15th century, a style that brought together Italian, French and
English influences. He was highly esteemed by his contemporaries, a fact
that accounts for the wide dissemination of his approximately 200
works, which became standard repertoire in the musical households of
European courts.
Alfonso el Sabio (1221–1284, reigned from 1252)
Alfonso el Sabio’s importance to music history rests upon the extensive work he commissioned, the Cantigas de Santa Maria.
This collection was the collaborative work of scholars, artists, poets
and musicians who, at Alfonso’s suggestion, collected and recorded
familiar melodies and underlay them with Marian texts. The recent
appearance of the new edition prepared by Higinio Angles has largely,
though not completely, resolved the manuscript’s notational problems.
Iberian, Old French, Byzantine, in some cases even Moorish origins may
be detected among the melodies contained in the collection, making them a
virtually inexhaustible body of research material for ethno- and
comparative musicologists. The Cantigas de Santa Maria have been
preserved in four manuscripts, three of which are kept in the National
Library in Madrid, the fourth and most important in the Escorial
Monastery.
Johannes Bassart (mid-15th century)
Originally
from the environs of Lüttich (Tongres), Bassart is first mentioned in
1422 as a singer in Lüttich. In 1431, we find him in the papal choir.
There were repeated stays in Lüttich and Tongres from 1434 on, and he
became director of music at the court of the emperor Frederick III in
Graz and Wiener Neustadt.
Kolmarer Liederhandschrift (15th century)
This
manuscript is assumed to have originated in Mainz in the 1470s, though
it contains poems from the 13th to 15th century. Like the Jenaer Liederhandschrift,
it primarily contains lyrical works not written in the poetic tradition
of the minnesingers, and was not restricted to poets from feudal
circles.
Oswald von Wolkenstein (circa 1377 in Schöneck/Alto Adige–1445 in Neustift/Brixen)
Von
Wolkenstein practiced the arts of singing and oratory in many countries
before audiences of princes, bishops, and even guests in taverns and
dance halls. He sang his songs in the tenor range and was able to
“fiddle, trumpet, drum and pipe.” With his extensive work, which
comprises both monophonic and polyphonic songs and is preserved in three
manuscripts prepared under his supervision, he single-handedly enriched
the social music of the court and originated the more intimate,
artistically elaborate song intended for domestic use. Musicologists
have doubted whether Wolkenstein was capable of polyphonic composition. A
few Italian and French compositions were discovered, with which
Wolkenstein had, with slight alteration, provided new texts, and from
this it was concluded that all of Wolkenstein’s polyphonic settings were
produced in the same manner. We do not share this view, however. It is
these very pieces, in which Wolkenstein has borrowed one or two voices
from an already familiar composition (a common practice in his time),
that give proof of his ability to change altogether the character of a
piece by adding a voice, something that only a composer well-versed in
polyphonic writing would be able to accomplish. Although he acquired
much in the way of compositional technique from his Italian
contemporaries and countrymen, Wolkenstein’s works also demonstrate that
he nevertheless succeeded in creating a style unmistakably his own.
The Mensural Codex of Nicolaus Apel
Nicolaus
Apel (c. 1470–1537) was professor of philosophy at the university in
Leipzig. The codex he compiled is one of the first manuscripts to bring
together nearly a century’s worth of compositions intended for domestic
use. Among countless anonymous composers, one also encounters such
well-known names as Adam von Fulda or Heinrich Fink. Most of the
compositions are sacred “social songs” of the same genre as the German tenorlied (‘tenor song’). The German tenorlied
differs from the Burgundian solo song in that, in the former, the sung
melody (or sometimes two or three different melodies, usually familiar
songs or excerpts of chant) is embedded, unfigured, in the diminutions
of the instrumental parts. Some (primarily older) compositions reflect
the influence of the Burgundian song by placing the tenor in the upper
voice. Most of the compositions in this codex have been preserved
without texts.
Cancionero Musical del Palacio and Cancionero Musical de la casa de Medinaceli
These
are the two most important sources of polyphonic Spanish music of the
15th and 16th centuries. They contain both sacred and secular
compositions in three and four voices. The compositions gathered into
these codices over the course of the 15th and 16th centuries are the
result of a blending of an Iberian idiom with imported Netherlandish
compositional techniques. For the most part they retain, particularly in
their rhythmic peculiarities, typically Spanish elements.
Montpellier Codex
A
manuscript in the possession of the medical faculty of the University
of Montpellier (med. H 196), it contains two- and three-voice (and a few
four-voice) sacred and secular chanson motets and conductus in Latin and French. It reflects the French motet repertoire of the 13th century.
Squarcialupi Codex (Florence, Medicea Laurenziana pal. 87)
This
codex was created in the 14th century by the Florentine cathedral
organist Squarcialupi (the predecessor of Heinrich Isaac). It is a
sumptuous manuscript that contains the most important secular
compositions of the Italian Ars Nova and in which the most relevant
Italian composers of the time are represented.
The Series
Publishing culture
in its authentic form entails for us capturing and recording for
posterity outstanding performances and concerts. The performers,
audience, opus and room enter into an intimate dialogue that in its form
and expression, its atmosphere, is unique and unrepeatable. It is our
aim, the philosophy of our house, to enable the listener to acutely
experience every facet of this symbiosis, the intensity of the
performance. The results are unparalleled interpretations of musical and
literary works, simply - audiophile snapshots of permanent value.
The
concerts in Maulbronn monastery, which we document with this edition,
supply, in many ways, the ideal conditions for our aspirations. It is,
above all, the atmosphere of the romantic, candle-lit arches, the magic
of the monastery in its unadulterated sublime presence and tranquillity
that impresses itself upon the performers and audience of these
concerts. Renowned soloists and ensembles from the international arena
repeatedly welcome the opportunity to appear here - enjoying the
unparalleled acoustic and architectural beauty of this World Heritage
Site (monastery church, cloister gardens, lay refectory, etc.),
providing exquisite performances of secular and sacred music.
Under
the patronage of the Evangelical Seminar, the Maulbronn Monastery
Cloister Concerts were instigated in 1968 with an abundance of musical
enthusiasm and voluntary leadership. Within the hallowed walls of the
classical grammar and boarding school, existent for more than 450 years,
some of society‘s great thinkers, poets and humanists, such as Kepler,
Hölderlin, Herwegh and Hesse received their first impressions.
The
youthful elan, the constructive participation of the pupils, continuing
the tradition of their great predecessors, constructs an enlightened
climate in which artistic ambitions can especially thrive. Twenty-five
concerts take place between May and September. Their success can be
largely attributed to the many voluntary helpers from near and far.
There is a break for winter.
Flourishing culture in a living
monument, created for the delight of the live audience and, last but not
least, you the listener, are the ideals we document with this series.