Chamber Ensembles (6)

The Ensemble 18+ chamber orchestra was established in 2009 by Czech conductor and harpsichord player Vojtěch Spurný with the concept of applying the criteria of so-called historically informed performance to an ensemble of modern instruments. However, work with historic sources and knowledge of period performance techniques is simply a basis not the final goal.
IFebiarmonici have changed their name into Salzburg Barock.
With our new name we want to express our affection for our hometown and
her rich musical tradition. The revival of violinistic treasures and the perfor-
mance of sacral music in the liturgy of the christian churches are our concern.
The emphasis of our repertory compasses the time from H.I.F.Biber (1644-
1704) to W.A.Mozart (1756-1791).
The project Hermosuras (Beauties, translated from the Spanish and the Sardinian languages) was born from the title of a successful CD by the Janas Ensemble, directed by Paola Erdas. Hermosuras is now a renewed group of ancient music with whom the harpsichordist made her debut in Lyon on December 15th, 2005, under the aegis of the Italian Cultural Institute.
LA VENEXIANA, fouded by Claudio Cavina, is today the most important madrigal group actually in activity. In styling to the anonymous renassaince comedy from it’s named , LA VENEXIANA aims to incorporate into its musical interpretation the theatrically, attention to language in all of its subtlety, and exultation of contrasts between refined and popular, sacred and profane, that characterize our culture today.
Das Theophil Ensemble Wien wurde 2008 gegründet und ist nach dem dänisch-österreichischen Architekten und Bauherren Theophil von Hansen (1813–1891) benannt, dem herausragendsten Vertreter der Neorenaissance (Wiener Stil) und Erbauer des Wiener Musikvereins.
Marco Beasley and Guido Morini founded Accordone in 1984, motivated by a passionate interest in both a musicological approach to performance problems and in Italian vocal music ranging from the Renaissance to the early eighteenth century. Lo Tasso Napolitano in 1991 was the first project to bear a clear dramatic imprint: from that moment on, the concert as an event containing both music and drama became the stylistic trademark of the group.
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