Lautten Compagney Berlin

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Lautten Compagney is an instrumental ensemble based in Berlin, Germany. Founded in 1984 by Hans-Werner Apel and Wolfgang Katschner, now the principal conductor, it specialises in Early music and Baroque music, notably the operas of Handel.

Lautten Compagney was founded in 1984 as a lute duo by lutenists Hans-Werner Apel and Wolfgang Katschner. The ensemble grew and plays in varied formation, specialising in Early music and Baroque music, notably the operas of Handel. Katschner is the principal conductor, Abel plays in the continuo group. Twice a year the group runs a festival, AEQUINOX, in Neuruppin.

The ensemble has frequently played choral works in concert and recording, collaborating with notable singers and ensembles. In varied formation from chamber ensemble to opera orchestra, they performed with vocal ensemble Capella Angelica, also founded by Katschner, and the Berliner Singakademie, works including Handel's Der Messias and Bach's Passions. In 2007 they recorded cantatas by Dieterich Buxtehude. In 2010 they performed Bach's Köthener Trauermusik in the reconstruction by Alexander Ferdinand Grychtolik in the Sophienkirche Berlin. In 2011 they played Handel's opera Rinaldo, 300 years after its premiere, with Valer Barna-Sabadus in the title role. In 2012 they performed Handel's oratorio La resurrezione, staged by Kobie van Rensburg, and Bach's Christmas Oratorio.For the Rheingau Musik Festival's annual Marienvesper at Eberbach Abbey, they performed Monteverdi's Vespers in 2013 with ensemble amarcord and five additional guest singers.

Program and cast

PERFORMERS
Lautten Compagney Berlin
Wolfgang Katschner musical direction
Dorothee Mields | soprano
PROGRAM
Love's Madness - Henry Purcell & English Folk Songs
N.N.: Bedlam Boys
Henry Purcell: 'Tis women makes us love. A catch
Henry Purcell: Then mad, very mad let us be
Henry Purcell: Fantasia "Three parts upon a ground"
Henry Purcell: I'll sail upon the dog star
Henry Purcell: Jack thou'rt a Toper. A catch
Henry Purcell: The Triumphant Dance
Robert Johnson: A Forsaken Lover's Complaint
Henry Purcell: Oh the sweet delights of love
Henry Purcell: Dance of Bacchanals
Henry PurcellOh Solitude!
Henry Purcell: Fantasia upon one note
Henry Purcell: Sing Ye Druids
Henry Purcell: Often she visits this lov'd mountain
Robert Johnson: Full fathom five
Henry Purcell: Rondeau
Henry Purcell: Beneath a poplar's shadow
John Gay / Johann Christoph Pepusch: Grim King of the Ghosts
Henry Purcell: From silent shades: Bess of Bedlam
Matthew Locke: Curtain tune in The Tempest
Henry Purcell: The Blessed Virgin's Expostulation
N.N.: The Cruel Mother
Henry Purcell: Once, twice, thrice. A catch
N.N.: William and Margaret
Anonymous: The Willow Song
Henry Purcell: Charon the Peaceful Shade
Thomas Ravenscroft: The Three Ravens
Henry Purcell: Ground in c
Anonymous: Ophelia's Mad Song
Henry Purcell: Dido's Lament from "Dido and Aeneas"
Henry Purcell: With drooping wings
N.N.: Bedlam Boys

Musikverein Golden Hall

This building is located on Dumbastraße/Bösendorferstraße behind the Hotel Imperial near the Ringstraße boulevard and the Wien River, between Bösendorferstraße and Karlsplatz. However, since Bösendorferstraße is a relatively small street, the building is better known as being between Karlsplatz and Kärntner Ring (part of Ringstraße loop). It was erected as the new concert hall run by the Gesellschaft der Musikfreunde, on a piece of land provided by Emperor Franz Joseph I of Austria in 1863. The plans were designed by Danish architect Theophil Hansen in the Neoclassical style of an ancient Greek temple, including a concert hall as well as a smaller chamber music hall. The building was inaugurated on 6 January, 1870. A major donor was Nikolaus Dumba whose name the Austrian government gave to one of the streets surrounding the Musikverein.
 

Great Hall - Golden Hall

“As high as any expectations could be, they would still be exceeded by the first impression of the hall which displays an architectural beauty and a stylish splendour making it the only one of its kind.” This was the reaction of the press to the opening of the new Musikverein building and the first concert in the Großer Musikvereinssaal on 6 January 1870.

The impression must have been overwhelming – so overwhelming that Vienna’s leading critic, Eduard Hanslick, irritatingly brought up the question of whether this Großer Musikvereinssaal “was not too sparkling and magnificent for a concert hall”. “From all sides spring gold and colours.”

 

 

 

 

 

Brahms Hall

"In order not to promise too much it can be said that it has been made into the most beautiful, most magnificent, perfect example of a chamber concert hall that any of us knows in the world.” This was the reaction of a Vienna daily newspaper in October 1993 as the Brahms-Saal was presented to the public after extensive renovation work.

The surprise was perfect. It was a completely new hall. In contrast to the Grosse Musikvereinssaal, the Brahms-Saal had changed its appearance quite considerably over the years. When and how it acquired that slightly melancholy duskiness that was known to music lovers before 1993 cannot be precisely documented.

 

 

 

Glass Hall

As a venue for events from concerts to luxury banquets, the Glass Hall / Magna Auditorium is not only the largest of the Musikverein's 4 new halls but also the most flexible in terms of usage.

Hub podiums enable the smooth transformation of the concert hall into a conference centre, the cinema into a ballroom, or the stage into a catwalk. State-of-the-art equipment for sound, lighting, video and widescreen digital projection provide the ideal conditions for half-scenic productions.
The Glass Hall / Magna Auditorium was designed by the Viennese architect Wilhelm Holzbauer. With a height of 8 metres, the hall (including the gallery) can play host to up to 380 visitors.

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