Shinrin-Yoku and Guided Bird Walk
Forest bathing, walking meditation and bird watching
Building insect hotels and bird boxes
Out of The Ground: The Royal Game of Ur
Learn to play a 5,000 year-old board game!
Free activities (book at email@example.com)
Out of Silence: The Recovery of Ancient Babylonian Music
Irving Finkel, Assistant Keeper of Ancient Mesopotamian script, languages and cultures in the Department of the Middle East in the British Museum, discusses Ancient Babylonian music.
Originating as a raunchy swirling dance in South America, the ‘chacona’ crossed the Atlantic at the beginning of the seventeenth century and immediately established itself in Spain as a temptation so irresistible it was said to have been given its name by the devil himself. Its rapid progress across Europe was momentarily slowed in 1615 when the King’s Council of Spain banned the chaconne from public theatres, accusing it, along with other popular dances, of being ‘lascivious, dishonest, or offensive to pious ears’. The allure of the chaconne was not so easily neutralized, however. It soon rose again, transfigured in the literate tradition of western music, where it was favoured by composers, including Purcell and Bach, whose awe-inspiring chaconne for solo violin stands supreme in the majesty of its expression. A century and a half later, the closing movement of Brahms’ Fourth Symphony reworks the chaconne from Bach’s cantata Nach dir, Herr, verlanget mich (BWV 150), powerfully colouring the recurring bass line with surging beauty.
Lucas Ruiz de Ribayaz Chaconas
Domenico Pellegrini Chiaccona in Parte variate alla vera Spagnola
Purcell Chaconne from Fairy Queen Act 5 Z 629
Anònimo Yo soy la locura
Gaspar Sanz Paradetas
Purcell Chaconne in G minor Z 730
Anònimo Vuestros ojos tienen d’amor no sé qué
Purcell Chaconne from King Arthur Act 5 Z627
Juan Arañés Un sarao de la chacona
Bach ‘Ciacona’ from Partita in D minor BWV 1004
Brahms Symphony No. 4 in E minor Op. 98
Reto Bieri was born in Zug, Switzerland, and grew up listening to Swiss folk music before discovering the world of classical music. He studied the clarinet in Basel and at the Juilliard School in New York, and his musical development was also strongly influenced by chamber music lessons from composer György Kurtag and pianist Krystian Zimerman.
In 2001 Bieri won the UNESCO-sponsored International Rostrum for Young Performers award, and since then has been invited to play all over the world, as soloist and chamber musician. He plays with various orchestras, such as the Tchaikovsky Symphony Orchestra (Moscow Radio), the Prague Chamber Orchestra, Zurich Chamber Orchestra, Hungarian Philharmonic, Tibor Varga Festival Orchestra, the Istanbul State Orchestra, the Basel Symphony Orchestra, the Basel Chamber Orchestra, Kremerata Baltica, Camerata Schweiz, Orchestra Pablo Sarasate Pamplona, the Bruckner Orchestra Linz, with conductors such as Vladimir Fedoseyev, Kurt Masur,Tibor Varga, Kristjan Järvi and Howard Griffiths.
His musical partners include violinist Patricia Kopatchinskaja and cellist Sol Gabetta, and he's performed chamber music with Gidon Kremer, Heinz Holliger, Dénes Varjon, Alexander Lonquich, Lars Vogt, Fazil Say, Gautier Capuçon, Nicolas Altstaedt, Tanja Tetzlaff, Pekka Kuusisto, Barnabas Kelemen, Carolin Widmann, the Carmina Quratet (Zürich), Casals Quartet (Barcelona), Rosamunde Quartet (Munich), Quatuor Ardeo (Paris), Badke Quartet (London), Borusan Quartet (Istanbul), Petersen Quartet (Berlin), Bennewitz (Prague), Enescu Quartet (Bukarest) and the Tecchler Trio (Zürich).
He enjoys creative collaborations with composers like Artur Avanesov, Tigran Mansurian, Gegory Vajda, Otto Zykan, Boris Yoffe, Michel Roth, Jürg Wyttenbach and many others.
In 2012 Reto Bieri has been appointed as professor at the Musikhochschule University Würzburg. Starting by autumn 2013, he also has a position as artistic director of „Davos Festival" in Switzerland.
Born in Argentina, Cecilia Knudtsen first made her musical training in her country (Conservatory C L Buchardo and University of La Plata). Then she moved to Switzerland where she studied viola da gamba with Arianne Maurette et Roberto Gini at the « Centre de musique ancienne de Genève" (CMA) and violone with David Sinclair at the « Schola Cantorum Basiliensis ». She performs with various ensembles Chiome D’oro (CH), Harmonia instrumentalis (CH), Cappella Mediterranea (CH),La batalla(CH) and has also collaborated with Isabella D’este (CH), Lucidarium (IT), Les Dominos(FR), Fanfarre du Loup (CH), Ensemble Concerto (IT), Le Concert Brisé(FR), Musica Fiorita(CH), Elyma(CH). She has recorded with the ensembles Chiome d’Oro, Concerto, Musica fiorita, Isabella d’este, La Batalla. She teaches viola da gamba, ensemble music and improvisation at the Conservatoire Populaire of Music, Dance and Theater of Geneva (CPMDT) and the didactics of early music at the HEM of Geneva.
Mezzosoprano Luciana Mancini was born in Sweden, but has Chilean roots. She received her bachelor degree in Classical Singing and Early Music Performance Practice from the Royal Conservatory of The Hague in Holland, where she subsequently joined the Opera Studio. In 2009 she received her Master’s degree, writing a thesis on Italian monodies of the 1600s. Luciana åhas sung under conductors including René Jacobs, Jean-Christophe Spinosi, Enrico Onofri, Pablo Heras-Casado, Neeme Järvi and Juanjo Mena; she has also collaborated with numerous ensembles, notably L’Arpeggiata, La Fenice, Lautten Compagney, Divino Sospiro, Orquesta Barroca de Sevilla, Ensemble Matthäus, and the Bergen Philharmonic Orchestra, singing at venues including the Staatsoper Berlin, Theater an der Wien, Drottningholm Palace Theatre, Carnegie Hall, the Opera Comique and the Margravial Opera House in Bayreuth. Luciana has worked with stage directors such as Benjamin Lazar, Sigrid T’Hooft, Pablo Maritano, Achim Freyer, and with the choreographer Sasha Waltz.
Priya Mitchell grew up in Oxford. She started playing the violin at four. ‘Unable to concentrate on anything my parents despaired – the violin was the best remedy- it allowed me to focus and dream at the same time.’She went to the Yehudi Menuhin School for four years where her teacher was David Takeno. Afterwards she studied in Vienna and with Zachar Bron in Lübeck. Priya loves to play both as a soloist and chamber musician. Earlier this year she was invited to be artist-in-residence for a week at Kings Place in London, and has recently performed in Copenhagen, Istanbul, Mecklenburg-Vorpommern, Kuhmo and Seville. She started the Oxford Chamber Music Festival in 2000 because she wanted to bring musician friends to Oxford and relishes ‘musical matchmaking, how else was it possible to bring together musicians I was certain would fall in love musically? Oxford is the ideal setting to make this alchemy happen. Festivals make one feel stimulated on every level, inspired and enriched. Most of us here
couldn’t be without them- they are irresistible, dangerous and highly addictive!’ Priya plays a Ballestieri violin made in the 1760s, generously on loan to her by a private family trust.
Christoph Sommer, born in Lutherstadt Wittenberg (Germany), received his first musical education on the piano and the guitar. His great interest in Early Music soon awoke his fascination towards lute instruments and their repertoire. In 2012 he graduated at the "Koninklijk Conservatorium" in Den Haag with the masters degree of Early Music. During his studies with his teachers Nigel North, Mike Fentross, Joachim Held, Xavier Diaz-Latorre and Monica Pustilnik, he focused on the historical performance of renaissance- and baroque music on the archlute, renaissance lute, theorbo and the baroque guitar. Further lessons and courses with renowned artists like Hopkinson Smith, Eduardo Eguez, Christina Pluhar, Charles Toet, Fabio Bonizzoni, Peter van Heyghen and Sébastien Marq shaped his way of performing this particular repertoire. Past engagements include concerts with the Holland Baroque Society, the Staatsorchester Hamburg, Koninklijk Concertgebouworkest Amsterdam, the Rotterdam Philharmonic Orchestra, the Nord Nederlands Orkest, as well as the Elyma Ensemble under the direction of Gabriel Garrido. In 2008 he was selected for the Ambronay-Academy under the musical direction of Jean Tubery. In 2009 and 2012 he was part of the Young artist residency in Ambronay. He currently is engaged in a dance theatre production “Next Stop: Blue” of the Luxembourg Philharmonic under the choreography of Ela Baumann. His participation in several Early Music-ensembles made him giving concerts in Germany, The Netherlands, Italy, Luxembourg, Denmark, France and Chile. Christoph Sommer is one of the founders and instrumentalist of the rising ensemble I Sospiranti, member of the Pera-Ensemble (Echo-Prize winner of 2012) and founding member of the continuo-ensemble Sopra il Basso.
O/Modernt is always searching for new ways to encourage the next generation of young musicians. We are delighted to have established the O/Modernt New Generation, which we will be launching in Stockholm on the 12th November. The initiative includes a Stockholm-based youth orchestra which will provide opportunities for instrumentalists to perform in concert alongside members from the O/Modernt Chamber Orchestra as well as world-class soloists. There will also be a series of international masterclasses, open rehearsals for young people and exchanges, with a focus on the UK throughout 2018. More information will follow about opportunities for young people to be involved in these wonderful activities.