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This ensem­ble Melpomen under my direc­tion has spe­cialised in a new­ly imag­ined reper­toire of Greek clas­si­cal music, i.e. the 6th and 5th cen­turies BC. Songs for one or two voic­es are accom­pa­nied and played around on care­ful­ly recon­struct­ed instru­ments (Aulos, Kithara, Lyra, Bar­bi­tos, Kro­ta­la, Kymbala).

Pro­grams with the reg­u­lar ensem­ble — “Sap­pho” or “Eros” with Ari­an­na Savall, Gio­van­ni Can­tari­ni und Mar­tin Lorenz — as well as two small choirs for music to Greek dra­mas – CHOROS/ΧΟΡÓΣ with a total of 11 musi­cians — are possible.

Pho­to © Jana Jocif

The ensem­ble difer­en­cias is ded­i­cat­ed to the explo­ration of Renais­sance and con­tem­po­rary music with Renais­sance recorders and sup­ple­men­tary instru­ments. At present, the focus is increas­ing­ly on tra­di­tion­al music and its imple­men­ta­tion with our instruments.

The most cur­rent project is a much sur­pris­ing col­lab­o­ra­tion with the Jazz-Eth­no-Trio con­sist­ing in piano, elec­tric bass and percussion.

Pho­to: © Adri­ano Heitmann

The harp­si­chordist Jörg-Andreas Böt­tich­er is both a teacher — at the Schola Can­to­rum Basilien­sis — and a con­cert per­former with a pow­er­ful as well as sub­tle, unmis­tak­able voice. Duo pro­grammes with him are jew­els of cham­ber music interplay.

Pho­to @ Elias Bötticher

The baroque vio­lin­ist Pla­me­na Niki­tasso­va is not only an out­stand­ing soloist, she is also present as a high­ly esteemed cham­ber music part­ner, espe­cial­ly in the French and Ger­man repertoire.

Pho­to © Hris­to Hristov

With the harp­si­chordist Markus Hün­ninger, who lives in the south of France and works at the Schola Can­to­rum Basilien­sis, I have an inten­sive col­lab­o­ra­tion, espe­cial­ly in the field of music around 1600 with its pow­er­ful mid-tone mood.

Pho­to © Michel Bonnaventure

The Schola Can­to­rum Basilien­sis is the inter­na­tion­al­ly ori­ent­ed and prob­a­bly world­wide unique insti­tute for teach­ing, research and fur­ther edu­ca­tion in the field of ear­ly music, from the Mid­dle Ages to the ear­ly 19th century.