François Couperin zum 350. Geburtstag

By Jens Klier, 06 March 2018

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“Couperins Namenszusatz kommt nicht von ungefähr: Le Grand!”

Bachtrack, 4th June

With a penchant for Baroque music in historical livery, Collegium Musicum Riga are part of a small but distinctive Early music scene in Latvia, initiating collaborations with others across the Baltic states.

Mongrel sensibilities: Early music in Italy

Lawrence Dunn, 28th May

Giulio Prandi, conductor of Coro e Orchestra Ghislieri, and violinist and concertmaster Gabriele Pro talk about crossing borders, adopting shared sensibilities, and the challenges facing historically informed musicians in Italy today.

Diversity and recovery: Early music in Croatia

Lawrence Dunn, 13th May

A group of younger Croatian musicians, including new ensemble Gli Schiavoni, are determined to recover the historical music of Croatia, despite a devastating series of earthquakes and armed conflicts.

Bach transformed: Jean Rondeau on remaking the Goldberg Variations

Bachtrack, 1st April

Renowned harpsichordist Jean Rondeau presents a new view of Bach’s Goldberg Variations at this year’s Bachfest Schaffhausen, including in arrangement for Baroque ensemble, and as a new composition for piano, percussion and electronics inspired by the cycle.

Cosmopolitan commonwealths: Natalia Olczak on Early music in Poland

Lawrence Dunn, 20th March

The young Polish harpsichordist with the Cohaere Ensemble talks about the Early music scene in Poland, her investigations into music of 18th-century Danzig, one of Europe’s most cosmopolitan cities.

Rare symphonies: Masaaki Suzuki returns to Singapore

Nahoko Gotoh, 19th March

Renowned Japanese conductor returns to the Singapore Symphony Orchestra to perform unusual music from Johann Wenzel Kalliwoda – an influence on Robert Schumann, who described him as “unique in the world of symphonies”.

Jens Klier

Vor seinem Rechtswissenschafts-Studium in Bayreuth und Bonn widmete sich Jens Klier seit frühester Kindheit musikalisch der Violine (Repertoire vom 17. bis 20. Jahrhundert). Während er zudem mit Gesang und dem Leben im Orchesterbetrieb groß wurde, entwickelte sich ein besonderes Interesse an der sogenannten 'Historischen Aufführungspraxis' und authentischen Instrumenten. Diese Leidenschaft hält sich hartnäckig, sodass er sie mit Vorliebe für das Barocke anstatt mit Finger und Bogen nun in Form der Musikkritik zu Gehör bringt. U.a. Telemann-Fan, Liebhaber J. S. Bachs Genies und Entdecker neuerer, seltenerer 'Alter Musik'.

Le Grand wieder etwas größer machen: François Couperin zum 350. Geburtstag