The imitation of birdsong in music is the theme of this program by Bernadett Mészáros (harpsichord), Julia Krenz (flute), and Anne-Katrin Schenck (soprano).
Le chant du rossignol -
Song of the Nightingale
Hardenbergstraße 4-5, Berlin
29th November 2011
29th November 2011
The imitation of birdsong in music is the theme of this program by Bernadett Mészáros (harpsichord), Julia Krenz (flute), and Anne-Katrin Schenck (soprano). Birdsong has always been a symbol of love and romance, and a favorite subject for composers from every musical era. Because the flute and soprano have long been considered ideal for imitating birdsong, many pieces have been composed for these two voices. The program follows the development of this "bird genre" with musical excursions through Germany, France, Italy, and England, spanning the Renaissance, early and late Baroque, up until the Classical period. How portrayals of birdsong can occasionally develop into musical rivalries between the two solo voices also becomes clear in the works of Handel, Rameau, Linley, and Purcell, among others.
Bernadett Mészáros was born on July 26, 1987 in Gyula, Hungary. From 2002 to 2006, she studied at the Béla Bartók Music Academy in Budapest and began playing the harpsichord in 2005. Her first harpsichord teacher was Anikó Soltész. After graduation, she began studying at the Franz Liszt Academy of Music in Budapest under professors Anikó Horváth (harpsichord) and György Vashegyi (chamber music). She regularly performs in concerts, both as a soloist and in chamber music ensembles. In September 2007, Ms. Mészáros founded the Siciliano Barock Ensemble, and since November 2008 has been a member of the Orfeo Orchestra in Budapest (conducted by György Vashegyi). She has also performed a number of times with the "Nemzeti Filharmonikus Zenekar" (Hungarian National Philharmonic) in Budapest (conducted by Zoltán Kocsis). As a member of the Baroque ensemble Senza Sordini (Leipzig-Berlin), she won the "Gebrüder-Graun-Prize" in Bad Liebenwerda in 2009. She has attended various mas-ter classes with such teachers as Malcolm Bilson, Ketil Haugsand, Gordon Murray, Jacques Ogg, Nicholas Parle, Johann Sonnleitner, and Miklós Spányi. Ms. Mészáros is currently studying at the University of Music and Theatre "Felix Mendelssohn-Bartholdy" Leipzig under professor Nicholas Parle.
Berlin-born Anne-Katrin Schenck took her first singing lessons from Martina Zell, and continued her vocal studies with Ingrid Figur and Regina Schudel at Berlin University of the Arts. She has performed in various opera, concert, and radio productions and appeared, for example, with the Berlin Philharmonic and the Konzerthaus Orchestra in Berlin. She won the Bundeswettbewerb für Gesang (German national singing competition), is two-time winner of the Gebrüder-Graun-Prize, and was the only German artist to reach the final round of the International Baroque Singing Competition in Chimay, Belgium. Ms. Schenck performs regularly with musicians from the Akademie für alte Musik, the Ensemble Archilegio, and the Baroque ensemble Senza Sordini, which she founded in 2007 and also directs. Since 2009, Senza Sordini has dedicated itself to playing the unknown operas of C. H. Graun, and was awarded the ensemble prize in the
Gebrüder-Graun competition for its interpretations. Working with Ortus-Musikverlag, Ms. Schenck published these arias in May 2011. In 2010 she toured Spain, Belgium, and France with La Petite Bande under the direction of Sigiswald Kuijken, performing works by Schütz (Musikalische Exequien) and Buxtehude (Membra Jesu nostri, Mit Fried und Freud) which they also recorded. The CD will be released later this year. She regularly works as a voice teacher in youth opera projects. In 2011, she became the managing director of an amateur opera production of King Arthur.
Born in 1981, Julia Krenz received her first musical instruction on other instruments until finally taking up the recorder at age 15. Just four years later, she began her varied studies in recorder and transverse flute at the Musikhochschule Münster, the Mozarteum Salzburg, and Berlin University of the Arts. She also elected to take courses in music theory and composition, rounding out her training with numerous master classes. For over ten years, Ms. Krenz has been working successfully as a music teacher and musician. In addition to her pedagogical work at the music school and in workshops, Ms. Krenz performs regularly as a soloist, in various chamber music groups, and in Baroque orchestras. In her concerts, the multiple award-winner is proof that the recorder has often been underestimated and wrongly considered an instrument for children and beginners. With playful facility and tremendous musical expression, she demonstrates her extraordinary technical skills on the recorder and flute in highly virtuosic and fast-paced pieces. Her musical understanding has given birth to numerous compositions and adaptations of known melodies, which Ms. Krenz also presents in concerts. Her first composition will be published this fall.
1 Joseph Haydn
"Auf starkem Fittiche" from "Die Schöpfung"
(The Creation) oratorio, H. 21/2
2 Georg Philipp Telemann
Fantasia no. 12 in G minor,
Grave/Allegro/Dolce/Allegro – Presto
3 Jean-Philippe Rameau
"Rossignol Amoureux" from
the opera "Hippolyte et Aricie"
4 Francois Couperin
"Le Rossignol en Amour"
5 Pietro Torri
"Son rosignolo" from the opera "Ismene"
6 Jacob van Eyck
7 John Dowland
8 Jacob van Eyck
9 John Dowland
It Was a Lover and His Lass
10 Georg Philipp Telemann
Sonata in C major, from
"Der getreue Musikmeister",
Cantabile – Allegro – Grave – Vivace
11 Georg Friedrich Handel
"Sweet Bird" from the oratorio
"L‘Allegro, il Penseroso ed il Moderato"