Telemann: Brockes Passion
The Müpa Budapest audience first had the opportunity to hear Handel's Brockes Passion in a March 2016 performance featuring the Hungarian Radio Choir and Capella Savaria under the baton of Howard Arman together with superb vocal soloists. This concert a year later can be considered a natural continuation of that evening. Why? The respected Hamburg senator Barthold Heinrich Brockes, who was also a noted poet and writer and an archetypal figure of the German Enlightenment, first published his passion libretto Der für die Sünde der Welt gemarterte und sterbende JESUS (The Story of Jesus, Suffering and Dying for the Sins of the World), in 1712. The work went through 30 editions over the next decade and a half and inspired numerous composers of the day to set it to music, including Reinhard Keiser (1712), Georg Philipp Telemann (1716), Johann Mattheson (1718), Johann Friedrich Fasch (1723), Gottfried Heinrich Stölzel (1725) and Johann Caspar Bachofen (1759). What's more, the influence of the Brockes text can also be detected in Bach's two more familiar passions, which employ both specific passages and the form of dramatic dialogue that was invented by Brockes. This means that, after experiencing Handel's version last year, it will be well worth finding out how another composer of the era, Telemann, who was Bach's good friend and godfather to his son, himself set the renowned passion libretto to music.
Eighty-year-old Dona Onete, the grande dame of the songs of the Amazon, is more than simply a Brazilian icon: she is one of the biggest sensations in contemporary world music. It was a childhood experience that inspired her to become a singer: she was washing clothes in the Amazon when she noticed a river dolphin, which she enticed to come closer with her singing. When she went to the riverbank the following day, two dolphins came to listen to her. By the third day, it was a whole group. By the age of 15, she was already singing at local bars, but when she got married, her husband refused to hear anything about her songs. A later job opportunity allowed her to keep music in her life: when teaching the traditions of Amazonian Indians and African slaves, she was able to sing when a demonstration was required. As fate would have it, she was later remarried and recently retired when her desire to sing resurfaced. This time with the encouragement of her new husband, she developed productive relationships with local musicians as a member of her town's cultural committee. On one occasion when they performed before the famous Naná Vasconcelos, they were such a success that a producer offered Dona a contract. This is how she came to record her first album (Feitiço Caboclo) at the age of 73, becoming an instant hit at festivals. Her second album, Banzeiro, was released in 2017 and made it to the top of the European world music radio charts. The record's title refers to the crashing waves that ships make on the Amazon: powerful, irresistible and ever-shifting. One song is from the world of carimbos, another from that of the samba, but there's no lack of cumbias or boleros, either. All are matters of the heart, so to speak, but the body also gets its share: from the smells of the fish market to the taste of the wildest kisses - it is full of gripping rhythm, life and inventiveness.
Organ recital with Daniel Roth
Mulhouse-born Daniel Roth is a credit to the reputation of the French organ tradition, to which he is undeniably linked through his studies with French organists like Maurice Duruflé, one of the most significant of the 20th century, and Duruflé's contemporary, Marie-Claire Alain, who approached him in standing. (In terms of "pedagogical bloodlines”, Duruflé himself had studied under César Franck's former pupil Charles Tournemire, while Marie-Claire Alain was taught to play the organ by Marcel Dupré, whose own teachers included Alexandre Guilmant, Louis Vierne and Charles-Marie Widor - to list just a few leading figures from the 19th and 20th century French organ school.) Roth also continues the tradition of diversity: he is both a church organist and a concert performer, having won numerous important competitions when he was younger, and also composes and teaches. His programme will include one of Bach's most famous compositions - the Prelude and Fugue in E minor (the fugue is sometimes called "The Wedge” in reference to the chromatically expanding ambitus of the melody), followed by a tribute to his homeland's organ literature with one - rarely played in Hungary - work from each César Franck and Charles-Marie Widor, with the concert's remaining time dedicated to letting the Müpa Budapest audience enjoy his improvisational skills. The concert will be preceded from 6.30 pm by a conversation entitled Prelude, where ticket holders will be invited to get to know the performing musician and the works to be performed more closely.