What, exactly? For example, about what Bach considers to be a prelude, and what the Danish-German Nicolaus Bruhns, who was born 20 years prior to Bach, thought about the rules of prelude composition. Bach also wrote a passacaglia, and not just any passacaglia. In this concert he will ask one of his great predecessors, half a century older than him, the Danish-German Dietrich Buxtehude (who had a significant artistic influence on Bach) how he did it. And Buxtehude will give his reply with the second piece of the evening. Chorales will also get a mention - how could it be otherwise? Bach comes up with two, one choral prelude and a chorale written with a trio, though Georg Böhm, 21 years Bach's senior, cannot be left out. He will also present us with a chorale, one with a very well known melody. Whose is the last word? Bach closes this professional discourse from a highly prestigious group with a glorious fugue. The Danish organist Bine Bryndorf was a student of Michael Radulescu and Gordon Murray at the Vienna Music Academy between 1987 and 1991, before also attending classes from William Porter in Boston and Daniel Roth in Paris. Bryndorf has achieved podium places in organ competitions in Innsbruck, Bruges and Odense and for chamber music in Melk and Copenhagen. She has enjoyed a significant solo carrier, and has taught in Vienna and then Copenhagen, where she has also worked as a church organist since 1996. We come across several Danish composers during the evening, including the closing piece, a composition from Carl Nielson.
Trixie Whitley was three years old when she first took to the stage during the concerts of her blues-roots rock musician father, Chris Whitley. She released her debut album together with her father when she was ten, in 1997. One year later she became Belgium's youngest ever resident DJ, spinning avantgarde electronica and jazz music. Her life has been spinning ever since. She has toured with alternative theatre groups and also became a member of supergroup Black Dub, who played a mixture of sub, soul and rock and were formed by the musician Daniel Lanois, a producer for U2 and Bob Dylan. The noted jazz drummer Brian Blade was responsible for rhythm in the band, while Whitley, who has a soul music singing style, has gone on to work with a wide array of famous names, from Marc Ribot to Robert Plant. Her first records mainly featured a modernised blues style reminiscent of PJ Harvey, whereas on her most recent 2019 album, Lacuna, she added electronic and hip-hop, hypnotic beats to her songs to create a futuristic, vibrant sound. She is an inventive, provocative and uncategorisable performer, whose music will appeal both to lovers of soul music and perhaps those who detect a more trip-hop based relative of St. Vincent. Trixie Whitley's bandmates are also famous in their own right. You may recognise keyboard player Daniel Mintseris from his work with the aforementioned St. Vincent, while appropriately enough for a concert on International Women's Day we will also have a female drummer, Dani Markham, who has toured with the tUnE-yArDs and regularly plays alongside Childish Gambino.
At its beginning, it was known as the Austro-Hungarian Haydn Orchestra, a group formed by Ádám Fischer in 1987 of musicians from both nations with the aim of uniting the two great musical traditions, and of serving the oeuvre of the composer which both peoples rightly feel to be their own. After 28 successful years, Fischer handed control of the orchestra to the French-German cellist Nicholas Altstaedt, born in 1982, who has led the orchestra since the 2015/16 season when he changed its name to the Haydn Philharmonie. Meanwhile, the previous team of Austrian-Hungarian musicians became an international ensemble. 'Joseph Haydn and his milieu: forebears and followers' is how the orchestra's Budapest performance programme could be described. Gregor Joseph Werner, composer of the concert-opening Three Fugues, was born nearly four decades before Haydn, and was his predecessor in the court of the Esterházy family. Ignaz Pleyel began his studies as a pupil of Haydn in 1772 in Eisenstadt (Brahms's Variations on a Theme by Haydn presumably takes its basic melody from one of his compositions). The programme is further embellished by Nicholas Altstaedt taking the stage not only as a conductor, but also as soloist for Haydn's extremely popular Cello Concerto No. 1 in C Major. The concert will be preceded, at 6 pm, by an introductory presentation by Gergely Fazekas entitled Prelude in the Auditorium, which will be open to anyone holding a ticket for the performance.