Elias Grandy

Gogol & Mäx

Magdalena Erhard

Barockorchester L’arpa festante

Walter Nußbaum

After studying church music in Heidelberg, including organ at Martha Schuster and conducting at Manfred Schreier, Walter Nußbaum worked as a cantor. During this period he collaborated with Péter Eötvös and Michael Gielen.

In 1992, Nußbaum founded the ensembles SCHOLA HEIDELBERG and the ensemble aisthesis and taught choir and ensemble conducting at the Hanover University of Music, Drama and Media. He has been invited to work with vocal and instrumental ensembles in Germany and abroad where he worked together with the Ensemble Aventure Freiburg, the Neue Ensemble in Hanover, the Nederlands Kamerkoor, the Finnish Radio Chamber Choir and the RIAS-Kammerchor, to name a few. In 2006, he made his debut at the Mannheim Nationaltheater, in 2010 he conducted Bernhard Langs Opera Montezuma in Mannheim.

Alongside his ongoing interest in traditional music, Nußbaum has devoted particular attention to contemporary compositions and has included numerous works in his first performances. He is especially interested in the history of twentieth-century interpretation.

Fresu, Galliano & Lundgren

Fresu, Galliano and Lundgren are dissimilar characters, and yet in this trio these exceptional musicians with their different cultural heritages have found an alliance which fosters their affinities and creates symbiosis. They play instruments from different families, and yet together they combine to create an ideal sound. Each of the three is a compellingly melodic player. Each has worked to extend the perceived boundaries and limitations of jazz. Each has explored within his national musical tradition, and since all three grew up within a few miles of a shore-line, the sea has more than just a symbolic role: it is a constant presence, a source of inspiration, and the starting point for all kinds of journeys and encounters, real and imagined.

It goes without saying that all of these musicians are among the most constantly in-demand in Europe bar none. Fresu is involved in countless projects from film to ballet, and is often to be found on stage with musicians as diverse as Nguyên Lê, Ralph Towner, Uri Caine or Omar Sosa. Galliano is an endlessly curious musician. He moves freely between the jazz and the classical worlds and is always on the look-out for new creative inputs, whether working with the late Charlie Haden, with Charles Aznavour or indeed the Sinfonietta Krakow.

Jan Lundgren has not just Nordic broodiness and impressionistic esprit as part of his make-up,but equally present are his deep roots in the American jazz piano tradition, which have led to collaborations with mainstream jazz players such as Scott Hamilton or Harry Allen. Lundgren’s individuality and distinctiveness are part of what makes him a genuine first call pianist, whether it be for Wolfgang Haffner’s “Kind of Cool” project. Or, just recently, for Nils Landgren’s Leonard Bernstein Tribute “Some Other Time”.

The fact that all three are in such demand has meant that Fresu, Galliano and Lundgren have taken all of seven years to make a follow-up album to the hugely successful start they made together as a band. Nevertheless, it has to be said that the long wait for “Mare Nostrum II” has absolutely been worth it. All three musicians have once again written pieces whose ear-worm tendency is irresistible. The listener is instantly drawn in by the sheer beauty of sound

The ear can wallow in the bubbling and limpidly lyrical piano chords and rins that come from Jan Lundgren; the warm, unimaginably variable tone colours of Fresu’s trumpet and the cascades of counterpoint from Galliano also charm the listener. This collection contains melancholy ballads, the red-hot pasión and deep yearning of the tango (“Blue Silence”), and the Nordic colurs of “Kristallen den fina”. It steps into the world of Frech chanson (“Giselle”), whereas (“Farväl”) is like a classical Etude. “Aurore” is a radiant hymn and “ Leklåt” is a whirling boogie, racing against the clock.

Danae Dörken

A poet at the piano” is how the newspaper “Die Welt” described Danae Dörken’s playing at a young age. Born to German and Greek parents in Wuppertal, Germany in 1991, Dörken grew up in a non-musical family. After hearing a girl play the piano at a children’s birthday party at the age of four, Danae was inspired to learn the instrument herself. She began taking lessons with Marina Kheifets at the age of five and won her first piano competition six months later.

In March 1999 Danae met Yehudi Menuhin at a concert at the Tonhalle in Düsseldorf, where she observed one of the dress rehearsals and was invited to play for him. Menuhin was so impressed that he offered her to support her musical education. Although very young, Danae was lareday fascinated by music and its expressive potential. Unfortunately, Mr. Menuhin died soon after, unexpectedly, in Berlin.

At the end of 2002, Danae took part in a master class with the renowned pedagogue Karl-Heinz Kämmerling, who offered her a place in his regular class. She continued to study with Kämmerling until his death in 2012 and now continues her education with famous pianist Lars Vogt.

Anne Le Bozec

Recipient of three first-place piano, chamber music and vocal accompaniment prizes at the Paris Conservatory (CNSMDP) as well as at the Konzertexamen de Lied in Karlsruhe; the laureate of numerous international competitions (including the Wolf/Stuttgart, Nadia Boulanger/Paris, and Schubert und die Moderne/Graz competitions), Anne le Bozec has crossed paths with numerous musicians who have been defining influences: Théodore Paraskivesco, Hartmut Höll, Leonard Hokanson, Anne Grappotte, Tabea Zimmermann, Gundula Janowitz, and Dietrich Fischer-Dieskau.

She makes music with Marc Mauillon, Sabine Devieilhe, Isabelle Druet, Cyrille Dubois, Sunhae Im, Ute Döring, Christian Immler, Didier Henry, Françoise Masset, Hélène Collerette, Olivia Hughes, Alain Meunier, Christian Ivaldi and many others. She has performed in the most intimate venues and some of the world’s top concert halls, including stages across Paris, the Opéra royal de Versailles, the Rheingau Musik Festival, the Musikverein Wien, the Concertgebouw Amsterdam, the Palau de la musica Barcelona, the Philharmonics of Cologne, Hamburg, Luxembourg, the Seoul Art Center, and many more. She has released numerous critically acclaimed albums dedicated to Lied (Schubert, Wolf, Duparc, Szymanowski, Chopin, Brahms) and to chamber music, including the full set of Beethoven’s sonatas for cello and piano with Alain Meunier. She has also made four recordings of previously unreleased work in the collection Musiciens et la Grande Guerre on the Hortus label.

A professor of vocal accompaniment at the Paris Conservatory (CNSMDP) since 2005, she co-directs the only German class on French melody. She has taught masterclasses around the world.

Prof. Dr. Norbert Lammert

Professor Norbert Lammert has served as President of the German Bundestag from October 2005 to October 2017. On 22 October 2013, the Members of the Bundestag re-elected him to the top parliamentary post. In terms of protocol, he ranks second only to the President of the Federal Republic. As President of the Bundestag he ensures that Parliament’s rules are upheld and represents Parliament in the public sphere. He also heads the Bundestag Administration, which has around 2500 members of staff, and the Bundestag police.

Political career

Norbert Lammert was born in 1948. After obtaining his Abitur (higher-education entrance qualification) and completing military service, he studied political science, modern history and social economics in Bochum and at Oxford.

He joined the Christian Democratic Union (CDU) in 1966. In 1975, he obtained his doctorate in social science. After holding a range of political posts at local and regional level, he was elected to the Bundestag in 1980. He served as deputy chairman of the Committee for the Scrutiny of Elections, Immunity and the Rules of Procedure from 1983 to 1989, then as a parliamentary state secretary at various federal ministries in the 1990s.

Above the party fray

Regarding his post as President of the Bundestag, he says: “This post is unlike almost any other political office, in fact, because it is clearly positioned at the heart of the political action, not outside of active politics, yet at the same time the President is – as laid down in the Bundestag’s Rules of Procedure – above the party fray. This balancing act demands a great deal of skill at times and is, in a sense, a never-ending intelligence test which every President is required to undertake.”

Cultural policy: not a diversion

Norbert Lammert ensures that Members do not cross the line in the Bundestag’s lively debates. “In my opinion, it does the Bundestag no harm for there to be lighter moments amidst the serious matters we deal with,” he says.

He is keenly interested in cultural policy. In his view, art is not one of life’s most pleasant diversions; it is one of the essentials. “Because what will remain of this generation in our country’s collective memory is not the tax laws we have passed, or the miles of motorway we have built, or the benefits we have increased or reduced; it is our artistic and cultural achievements which will be passed on to future generations,” Lammert says.

Cappella Andrea Barca

The musicians of the Cappella Andrea Barca are primarily active as globally successful soloists and chamber musicians and are not tied to any orchestras. They were selected personally by Sir András Schiff for the performance of the complete Mozart Piano Concertos at the Mozartwoche Salzburg from 1999 to 2005. Since then, the Cappella Andrea Barca has been a regular guest at the Salzburg Mozartwoche.

Gradually, under the direction of Sir András Schiff, the orchestra widened their scope. Since 1999, they have organized the Omaggio a Palladio Festival at the Olimpico Theatre in Vicenza, where, in 2001, they were also involved in three performances of Mozart’s Così fan tutte. The ensemble was also a guest at the Kunstfest Weimar in the years 2004-2007. In addition, they have toured numerous European cities such as Vienna, Innsbruck, Zurich, Basel, Geneva, Athens, Brussels, Luxembourg, Cologne, Essen, Frankfurt, Bremen, Baden-Baden, Budapest and Lisbon. Two tours in the Mozart Year 2006 led Andrea Barca to the USA, where they were invited to New York’s Carnegie Hall for three concerts, as well as the Lincoln Center and the Kennedy Center, Washington. At the Beethovenfest Bonn 2008 and 2010 Andrea Cappella performed further concerts. In 2012 Cappella Andrea Barca could be seen and heard at the Lucerne Festival, where they performed Bach’s B-flat Minor Mass to great acclaim. In the spring of 2014, they performed Beethoven’s Missa Solemnis in collaboration with the Balthasar Neumann Chorus and conducted by Sir András Schiff. In 2014 and 2015 the Cappella Andrea Barca, led by Sir András Schiff, was part of a Schubert cycle at the Schubertiade in Schwarzenberg (Austria) and in 2016 at the Schleswig-Holstein Music Festival, the Rheingau Music Festival and in 2017 was guest at the Sommets Musicaux de Gstaad Festival.

Very little is known about Andrea Barca’s life, despite the diligent efforts of present-day musicologists. He was born most probably between 1730 and 1735 in Marignolle, near Florence, Italy. His parents and ancestors were contadini (“peasants”). He had close contact with Mozart, having participated at the latter’s private concert – on April 2, 1770, at the Villa Poggio Imperiale in Florence – as page turner. Ever since that day, he decided to devote his life to the interpretation of Mozart’s keyboard works. His enthusiasm brought him to Salzburg, where his efforts were received with mixed success – thanks to the famous local press. Thus, our musician returned to his homeland, working as a composer and pianist. Among his numerous compositions is La ribollita bruciata, an opera that must be seen as one of the highlights of Tuscan music history. Ribollita is a traditional Tuscan soup made of bread, beans, and vegetables; the title of the opera means “The burnt ribollita.”

Andrea Barca’s death – when, where, and under what circumstances he died (if he died) – continues to remain a mystery. “

Sir András Schiff’s ambition is to present Cappella Andrea Barca in a way that allows the ensemble to prove themselves in soloist and chamber music formations, which is something that most established orchestras will struggle to achieve. “What I work with as a conductor is an extension of chamber music; the cappella is a chamber music ensemble of excellent soloists, but above all chamber musicians. There are many string quartet players in this orchestra, and playing the string quartet is the pinnacle of making music.” Moreover, Sir András Schiff considers the human and personal component equally important:” There is no place for the egotist. This ensemble is based on friendship, understanding, equality and equal ideals – aesthetic, musical and human.”