Programme

“Musical improvisation of the 17th century”

Heinrich Ignaz Franz Biber (1644–1704): Artificiosa – Ariosa, Partia VI. – Preludium

Adam Michna z Otradovic (1600–1676): „Toto malé děťátko“ (Sinfonia a4)

Heinrich Ignaz Franz Biber: Balletti Lamentabili a 4
Sonata, Allamanda, Sarabanda, Gavotte, Gigue, Lamento

Gottfried Finger (1660–1730): Chaconne

Václav Karel Holan Rovenský (1644–1718): „Z nebe jest vyšel“ (Sinfonia a4)

Heinrich Ignaz Franz Biber: Sonata a 4(5)

Václav Karel Holan Rovenský: „Marya dej dovolení“ (Folia)

Gottfried Finger: Sonata Dezima

Heinrich Ignaz Franz Biber: Mensa Sonora (Pars VI)
Canario, Amener, Trezza, Ciacona, Sonatina (Adagio, Presto)

Heinrich Ignaz Franz Biber: Arien a4 – „Gigue“?

Heinrich Ignaz Franz Biber: Artificiosa – Ariosa, Partia VI. – Finale

Contemporary musical interpretation practice allows us to search for forgotten methods of early Baroque ornamentation, which strengthened the emotional component of musical compositions. There are several as yet untried, and therefore gradually discovered, ways of enriching and “newly” interpreting 17th-century works in terms of decorative effects. This applies to both sacred and secular music by composers Adam Michna of Otradovice, gambist Gottfried Finger, or Czech violin virtuoso Heinrich Ignaz Franz Biber.

Musica Florea, Marek Štryncl – artistic director

Jiří Sycha, Magdalena Malá – baroque violin

Mélusine de Pas – viola da gamba

Marek Štryncl – cello, baroque guitar

Ondřej Štajnochr – double bass

Jakub Eben – percussion

Filip Dvořák – organ