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In 2025 we are celebrating the 250th Anniversary of the concerto masterpieces for violin written by Mozart in 1775... And in 2025 you recently released a marvelous CD Album on Biber's exceptional virtuoso and intimate pieces for violin. The background, the same town, Salzburg, the destiny of which seems to be strictly linked to the greatest art of violin technique and playing: from Biber great violin master to another great Salzburg's violin master, Leopold Mozart & his manual, and then Wolfgang Mozart great violinist and composer! Can you present your beautiful CD on Biber, trying also to find a Salzburg connection between the art of Biber and that of Wolfgang Mozart? Probably perhaps a profound virtuosity, which surpasses the simple flamboyance, the love for polyphony (in general, but in Mozart not in violin solo parts) and masterly improvisation? | |
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Some years ago I came across a score of a violin concerto by Luigi Gatti [1740 Lazise-1817 Salzburg: IMSLP], a lesser known 18th-century composer,
who became the last Italian Kapellmeister in Salzburg in 1780... ... What got me interested in this composer was the fact that he was successful in obtaining this post over a certain Leopold Mozart, much to the chagrin of Wolfgang's father, it seems. I wasn't aware of this preference for Italian musicians in Austrian lands, until I looked deeper into it and realised that Salzburg wasn’t the only musical centre in Austria that had a penchant for the Italian Kapellmeister: a century before this appointment took place, on the other side of Austria in Vienna, Antonio Bertali [1605 Verona-1669 Vienna: IMSLP] was elected as the Court Kappelmeister to Ferdinand III in 1649, following another Italian musician, Giovanni Valentini [1582/83 Venice-1649 Vienna: IMSLP]. Bertali was important to us because he brought the Italian violin school across the Alps to Vienna and is considered as the founding figure for the Austrian violin school. His pupil Johann Heinrich Schmelzer [1620/23 Scheibbs (Austria)-1680 Prague: IMSLP] became the first non-italian imperial Kapellmeister in Vienna in 1678 and together with Heinrich Ignaz Franz von Biber [1644 Wartenberg-1704 Salzburg: IMSLP] is considered as the main exponent of the Austrian violin school. Last year I had the opportunity to explore this Austrian violin school in depth with the recording of Biber's Sonatas for violin, published in 1681. These works were the very reason why I got interested in baroque music when I was a student in Croatia at the Music Academy in Zagreb, as the harmonic language used in these sonatas spoke to me in a manner that was much more direct than the one I experienced before. This publication was the very reason why he was regarded as one of the most brilliant violinists during his life. Charles Burney wrote: «Of the violin players of the last century, Biber seems to have been the best, and his solos are the most difficult and most fanciful of any music I have seen of the same period.» I would still consider the technique used by Johann Jakob Walther [1650 Witterda bei Erfurt-1717 Mainz: IMSLP] in his Scherzi da Violino, published in 1676, is more demanding of the two,... ... but what is obvious to us now is how enthusiastically the present day audiences respond to Biber's Violin Sonatas from 1681! Almost a century later, young W.A. Mozart was finishing composing his last Violin Concerto. He composed five of them between 1773 and 1775, but sadly never returned to the form again, except for his masterpiece Sinfonia Concertante in 1779 and Concerto for Violin, Piano and Orchestra from 1778 [See infra at QA No. 2], probably... In conversation with Robert Levin, he observed that Mozart wanted to move as far away as possible from his father's influence, who made him practice the violin in the first place!... Composing for the piano, or any other instrument other than violin was a statement for the young Mozart and he never returned to the form, except for the two aforementioned examples.    We can find the similarities between Biber and Mozart styles in the violin technique they used in their works, such as playing in high positions, rapid semiquaver passages and string crossings, the use of double stops and finally a wonderful sense of creating a melody that stays with the listener long after they heard it!... ... Although both come from different parts of the country with a different musical heritage, the Italian violin school, style and technique is at the heart of these works! |
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Bojan Čičić plays Johann Jakob Walther (Illyria Consort): Scherzi da violino: X 'Imitatione del cuccu' Delphian Records |
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Bojan Čičić plays Antonio Bertali (Illyria Consort): Chiacona |
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Bojan Čičić plays J.S. Bach: Violin Partita No. 3 in E Major, BWV 1006: I. Preludio Delphian Records |
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With Academy of Ancient Music, you've recently worked on the completion of the famous series of Mozart's Piano Concertos with Robert Levin, a series which has been extremely well received, thanks also to its often unusual approach. Can you talk about your experience on this project? In particular, your role as leader of AAM and as soloist? Vol. 11 features an awesome completion by Robert Levin of the Concerto for Violin, Piano and Orchestra K315f: can you tell us about your experience in rendering and recording this beautiful piece? | |
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In my 7 years as the leader of the Academy of Ancient Music, the one project of which I'm most proud would be
the completion of Mozart’s piano concertos with Robert Levin You may be familiar with the story of how the label Decca, who issued these works in the 90s, suddenly pulled the plug on the whole project at the end of that decade... ... There remained about 5 hours of music and one had to wait for more than 20 years for the opportunity to finally complete this recording project... ... In 2020, during Covid, when the orchestra didn’t have much work, if any at all, the decision was made to see if we could secure the funds needed to record the remaining works by W.A. Mozart with Robert! A lot of fundraising efforts from both the orchestra and Robert Levin went into it and we finally released our first recording in March of 2023. It started with a bang with the release of the famous concerti No 21 and No 24!  The energy and the excitement during these sessions was palpable, as we all felt that we were a part of something unusual, something that was not supposed to happen after such a long hiatus, yet there we were, all wearing masks, while some political party was protesting outside the St John Smith Square in London during the recording sessions: it did feel important, as if it was meant for posterity! The AAM and maestro Levin worked tirelessly to bring this project and its financial demands to as many people as they could! I for one was lucky enough to share the stage with Robert on our very final fundraising concert in 2023, witnessing his fantastic skills and talent in bringing Mozart's music to life. Soon afterwards we recorded Robert's version of Mozart's Concerto for Violin, Piano and Orchestra K315f... 
... It is a work that exists in Mozart's hand for the opening 100 or so bars, with only the opening ritornello
to go with and a few bars of the solo parts. Based on this opening left to us by Mozart, Robert Levin wrote
the rest of the movement from that point on with many solo passages and orchestral tutti...... I must admit that it was among the most difficult parts I ever had to perform, since the music seemed even more technically demanding compared to what Mozart wrote in his other violin concertos, whilst the speed that Robert preferred made it all together more daunting... ... Still, it was a unique experience and my only regret was that we didn't have a chance to perform it in front of an audience! |
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________________________________________ THE AAM MOZART'S PIANO CONCERTOS SERIES - PART 2 FINAL CD ALBUMS Vols. 9, 10, 11, 12, 13 Richard Egarr conductor Bojan Čičić leader, violin soloist, conductor/director Robert Levin fortepiano ________________________________________ • Mozart: Piano Concertos Vol. 9: K467 & K491 • Mozart: Piano Concertos Vol. 10: K107s, K175, K336 & Nannerl • Mozart: Piano Concertos Vol. 11: K242 a2, K365 & K315f • Mozart: Piano Concertos Vol. 12: K238, K246 & K242 a3 • Mozart: Piano Concertos Vol. 13: K595, K503 & K505 |
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________________________________________ THE AAM MOZART'S PIANO CONCERTOS SERIES - PART 1 FINAL CD ALBUMS Vols. 1, 2, 3, 4, 5, 6, 7, 8 Christopher Hogwood conductor Robert Levin fortepiano ________________________________________ • Mozart: Piano Concertos Vol. 1: K271 & K414 • Mozart: Piano Concertos Vol. 2: K413 & K415, Rondo K386 • Mozart: Piano Concertos Vol. 3: K456 & K459 • Mozart: Piano Concertos Vol. 4: K453 & K466 • Mozart: Piano Concertos Vol. 5: K450 & K537 • Mozart: Piano Concertos Vol. 6: K482 & K488 • Mozart: Piano Concertos Vol. 7: K175, K449 & K451 • Mozart: Piano Concertos Vol. 8: K37, K39–41 |
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You are the leader of Academy of Ancient Music. Can you tell us about the origin, the history, the achievements and the mission of this famous Orchestra? In recent years, with AAM, you have created important performances of great but neglected composers from the 18th century: can you name some of them? Your outstanding research in discovering beautiful, but forgotten names of the music from the 18th century led you to form your own group, The Illyria Consort! Can you tell us about its origin, history and achievements? We are particularly interested in your work on the famous 18th-century violinist/composer Giovanni Giornovich! | |
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Long time has passed since the founding of the AAM in 1973 and their mission to perform and record Baroque
and Classical music on the instruments, or replicas of the instruments that were as close as possible to
what musicians would have used in those eras. It became known as a historically informed performance movement
and as such was considered as a musical counter-culture, carrying the torch of the pioneering spirit of exploration,
revealing new alternative versions of famous pieces, or unveiling new names of the forgotten composers. Today it became difficult to keep this pioneering flame alive, since HIP became a part of the mainstream culture today, where modern orchestras and performers use many historically informed performance styles, if not the types of instruments themselves. The AAM were at the forefront of the developments in this performance style, bringing lesser known, as well as very well known repertoire to new audiences. ________________________________________ THE AAM & BOJAN ČIČIĆ: OTHER CD ALBUMS ________________________________________ • Baroque Journey with Lucie Horsch: Sammartini, JS Bach, Handel, Purcell • Dario Castello: Sonate Concertate in Stile Moderno, Libro Primo AAM's BOOK: REFINER'S FIRE A history of the Academy of Ancient Music      ___________________  The recordings of this orchestra were a big reason why I wanted to learn more about this movement and eventually formed my own ensemble, Illyria Consort, exploring lesser known repertoire and composers in our recordings. One such composer was Giovanni Stefano Carbonelli [See infra at QA No. 6], an Italian violinist who came to London in the 1720s and made a career as a leader of the orchestra Theatre Drury Lane. His only surviving opus of 12 violin sonatas was the debut recording of my ensemble. Our next venture was much more ambitious, a world premiere recording of three violin concertos by the Croatian virtuoso: Giovanni Giornovich [1747 Ragusa at sea en route from Croatia to Sicily?-1804 St Petersburg: IMSLP], published in London in 1790.  Giornovich moved to London in the last decade of the 18th century, following the aftermath of the French Revolution. London seemed like one of few safe havens in Europe at that time with many émigrés, artists, musicians, writers and intellectuals moving to the capital. He soon established himself in the music life of London, which was apparent with the esteem he received in London. Interestingly, he was among the few musicians who welcomed Joseph Haydn on his first arrival to London the following year. The concertos we recorded (Nos. 13, 14 & 15) display a strange mixture of Italian violin technique with some traditional folk tunes from the regions and countries where he worked in the past. This was most notable in the Concerto No.14 that had a Russian tune in the final movement, titled Rondeau a la Russe, as a nod to St Petersburg where he worked at the Court of Catherine the Great as a chamber musician in the previous decade. MORE GIORNOVICH WITH PRESTO MUSIC Presto Music: Interview with Bojan Čičić on new acclaimed CD Album: Giovanni Giornovich London Concerts  Bojan Čičić plays Giovanni Giornovich (Illyria Consort): Violin Concerto No. 14 in A Major Delphian Records During Covid years, Illyria Consort continued with the first complete recording of Johann Jakob Walther: Scherzi da Violino, published in 1676. I wanted to shine a light on this composer, whom I find to be a fascinating figure of the 17th-century and an important link between the first attempts to compose for the violin as a polyphonic instrument in the second half of the 17th-century and Sonatas and Partitas for solo violin by JS Bach, the absolute zenith of the repertoire. The one project that I would like to point out was yet another Covid recording titled Adriatic Voyage, that Illyria Consort did with the vocal group Marian Consort, exploring the works of composers born on the Adriatic Sea in the 16th century. I think it is obvious what our mission was from the start, to keep the flame alive of exploration, bringing the works of lesser known, yet very important composers to audiences that wouldn't necessarily have had the chance to hear their music. ________________________________________ BOJAN ČIČIĆ & ILLYRIA CONSORT: THE CD ALBUMS THE DELPHIAN SERIES ________________________________________ • Carbonelli 1 2017: • Carbonelli 2 2019: • Giornovich 2019: • Adriatic Voyage 2021: • Pyrotechnia 2021: • La Notte 2022: • Walther 2022: • Handel 2024: • Bach 2023: • Biber 2025: MORE THE ILLYRIA CONSORT WITH PRESTO MUSIC Presto Music: Interview with Bojan Čičić on new acclaimed CD Album: Adriatic Voyage Presto Music: Interview with Bojan Čičić on new acclaimed CD Album: La Notte           |
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AAM: Great Women Composers from 18th century: Bayon Louis - Overture to 'Fleur d'épine' [1776] |
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AAM: Great Women Composers from 18th century: Maria Antonia Walpurgis - Talestri, Queen of the Amazon [ca 1760] |
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In 2016, you were appointed Professor of Baroque Violin at the Royal College of Music. What's the importance of Biber's violin technique today? Biber's scordatura had some influence on later music? What is the difference between the Baroque violin and the 19th-century violin, so that many violins were re-adapted in 1800s? What's your first approach to Historical Informed Performance with your students? How do you choose the period instruments for your projects? What's your favourite violin from the 18th century? What are your future projects? | |
 As a professor of baroque and classical violin at the Royal College of Music in London I get a chance to introduce, as well as work on the music of Heinrich Biber with many students interested in this period of nascent virtuoso violinist... ... We are at the beginning of the violin being seen as an instrument capable of much more than just a melody... ... Composers such as Johann Jacob Walther [1650 Witterda bei Erfurt-1717 Mainz: IMSLP] and Johann Paul von Westhoff [1656 Dresden-1705 Weimar: IMSLP] started experimenting with double-stops, triple-stops and even quadruple-stops in their sonatas and partitas for violin at the same time as when Biber composed his sonatas, either the ones published in 1681, or the ones he grouped together in his more famous Rosary Sonatas... ... Whilst the works by his German colleagues remain technically more demanding than those of Biber, the lightness, flair and easy virtuosity that Biber exudes in his sonatas remain the reason why his music remains among the most popular one from the 17th-century. 
___________________Today we remember Biber mostly for his scordatura tuning of the violin, which is a real shame, as this technique isn't representative of his entire opus. On top of it, the scordatura technique wasn't something that remained very popular following his passing (see Haydn Symphonies Nos 60 and 67, violins section; Mozart Sinfonia Concertante for Violin, Viola and Orchestra in E♭ major, K. 364 (320d), viola; Nardini; Paganini; Spohr; etc. always between effects and symbolism, however never as complicated as in Biber and the 17th-century composers), but remained a quirky technique that composers sometimes reached for when they needed a certain otherworldly sound palette... A good example would be Danse macabre by Camille Saint-Saëns in which he asks the solo violin to tune the top string down a semitone (a symbology on death inspired by a ballad written by Cazalis after Goethe)... This type of scordatura may seem laughable to us compared to the much more complex scordatura used by Biber, Pachelbel [1653 Nuremberg - 1706 Nuremberg: IMSLP and Musicalische Ergötzung] or Jan Františel Vojta [1657 Černovice - 1701 Prague: IMSLP and ARTA CD] in the 17th-century, but it just shows how obscure this technique got since its heyday more than 300 years ago. The invention of this technique was attributed to German/English virtuoso violinist/composer Thomas Baltzar [ca 1630 Lübeck - 1663 London: IMSLP], but, in Germany, probably it already existed before him. This wasn't the only difference that changed over the centuries! ___________________ Technically speaking, there isn't much difference in instrument building between the 18th and 19th-century violins, though a lot of violins seemed to have been thinned down (ie narrower capotasto and extended fingerboard) in the 19th century, because of the improvements that the luthiers and musicians felt needed to happen in that period, something that we consider blasphemous today.    What is entirely different is the bow used between these two centuries. In the 1770s Paris Tourte brothers made radical changes in bow making, making the point of the bow heavier. There were some attempts in the previous decade to make a bow that would have close to equal weight on the point, as on the hill of the bow, but this still followed a convex shape of the bow. What was radical about the Tourte model was the height that they made on the point of the bow, which in turn changed the shape of the bow from convex to concave... ... These changes took place because the aesthetics in music moved towards more linear and therefore vocal lines, something altogether different to the articulated style that belonged to the baroque period. Bowing with Bojan: An Introduction to the Baroque Bow Bojan Čičić & Academy of Ancient Music Presto Music: Bojan Čičić & the Use of Bow ___________________ I try to explain to my students that any changes that happened in the instrument, or bow making took place because of the changes in musical taste and style. This revolution in bow making continued well into 19th century music, something that interests me in particular because of my next recording project... ... I am planning to make a recording of the music for violin and piano by the forgotten Croatian born violin virtuoso Franjo Krežma, who achieved fame as a concert violinist and later leader of the orchestra Bilse'sche Kapelle, that later transformed into the Berlin Philharmonic Orchestra... ... His desk partner was none other than Eugene Ysaÿe, so the two must have made a pretty impressive pairing at the front of the orchestra. Sadly, he passed away in 1881 at the age of 19. Who knows what music he would have left us, had he had the chance to live a bit longer, but what has been published so far absolutely deserves to be widely known. For the recording we will be using a piano from 1875, the very decade in which Krežma composed and performed these works for violin and piano. |
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Bojan Čičić presents: Trailer: Walther, Scherzi musicali (Academy of Ancient Music, 2023) |
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Bojan Čičić & Steven Devine: Biber, The Rosary Sonatas: The Sorrowful Mysteries (Sinfonia Smith Square, 2021) |
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Your favourite work by Mozart and your favourite work by J. Haydn. |
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I was very fortunate to have grown up in a household in which a lot of classical music was played
on our hi-fi system. Very often we heard Mozart's works, such as his 40th Symphony, or
the violin Concertos, even The Magic Flute, but nothing came close to the excitement
I felt when performing his Le Nozze di Figaro for the first time... Scene after scene, Mozart left more and more in awe of the music we just performed... ... To this day I haven't experienced something as ludicrously fun as that experience of discovery. 1775/2025: 250th ANNIVERSARY MOZART'S VIOLIN CONCERTOS DISCOVER THE MOZART'S AUTOGRAPHS No 1 K207 (1773) No 2 K211 (1775, 14 June) No 3 K216 (1775, 12 September) No 4 K218 (1775, October) No 5 K219 (1775, 20 December) |
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___________________ At this moment, I'm particularly interested in Haydn's operas L'infedeltà delusa, La fedeltà premiata and Lo speziale. The first two certainly exerted an influence on Mozart, while he was writing his Così fan tutte (1790). Just jew know that Haydn personally attended all the rehearsals of Così fan tutte, due to a direct invitation by Mozart, and probably might have witnessed some storm with Salieri. It seems that Lo speziale might have been also inspirational to Mozart's three Da Ponte operas (Le nozze di Figaro, Don Giovanni, Così fan tutte), however its direct influence, despite the evident similarities of certain numbers, is still disputed. |
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Do you have in mind the name of some neglected composer of the 18th century you'd like to see re-evaluated? | |
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The list of violinists/composers whose work is little known remains vast! I could say Giovanni Giornovich [1747 Ragusa at sea en route from Croatia to Sicily?-1804 St Petersburg: IMSLP] and his 16 violin concertos, not known to the audiences today at all, even though they were popular throughout Europe in the 18th-century. We recorded three of these concertos, with three more yet unrecorded. For Giornovich See supra at QA No. 3 section 2: The Illyria Consort. ___________________ However, I'd have to say Giovanni Carbonelli [1694 Livorno-1772 London: IMSLP] and his other works that probably got lost in the fire of the Theatre Drury Lane in London where his music was kept. Based on the 12 Sonate da camera that we recorded in 2017, he was a very fine composer and due to this fire, we will never know his full musical output. MORE CARBONELLI WITH PRESTO MUSIC Carbonelli CD Album available at: Delphian Records & Presto Music Presto Music: Interview with Bojan Čičić on new acclaimed CD Album: Carbonelli Sonate da camera Nos. 1-6 Presto Music: Presto Music presents Bojan Čičić & Illyria Consort CD Album: Carbonelli Sonate da camera Nos. 1-6 |
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Bojan Čičić and Richard Egarr play Carbonelli (Violin Sonata No. 1, Andante) |
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Bojan Čičić and Steven Devine play G.F. Handel: Sonata in G minor, Op 1 No 6 HWV 364a Delphian Records |
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Name a neglected piece of music of the 18th century you'd like to see performed in concert with more frequency. | |
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I'd be very interested to see more operas by Joseph Haydn on the opera stage! It is strange that one of the most important composers of the 18th century has such a modest representation on the stage today. ________________________________________ HAYDN'S EXTANT OPERAS ________________________________________ Most of Haydn's opera productions was intended for the private Court of Prince Esterhàzy, as he himself pointed out. For this reason, at the end of the 18th century and the beginning of the 19th century, the knowledge of this part of Haydn's music production was very limited, strange and imprecise (ie see Stendhal). Moreover, Haydn's last opera production (for London 1791), L'anima del filosofo (a masterpiece based on Orpheus and Euridice), ended up censored and never performed, probably due to the difficult moment caused by the French Revolution ideas. It premiered only in 1951. However, during his lifetime, Haydn tried to promote his operas in various cities, ie Paris, Vienna, etc. by boasting their qualities, especially L'isola disabitata, La fedeltà premiata, and Armida (see his letters to Artaria). Nonetheless, they received de facto a limited diffusion. Mozart knew Haydn's operas. As said previously, some operas by Haydn directly influenced Mozart's Così fan tutte: Haydn personally attended the rehearsals of Così fan tutte. Haydn's operas probably influenced also Le nozze di Figaro and Don Giovanni. 1. Acide e Galatea (1763) 1 act 2. La canterina (1766) 2 acts 3. Lo speziale (1768) 3 acts Influenced (?) Mozart's Don Giovanni, Le nozze di Figaro and Così fan tutte 4. Le pescatrici (1770) 3 acts 5. L'infedeltà delusa (1773) 2 acts Influenced Mozart's Così fan tutte 6. L'incontro improvviso (1775) 3 acts 7. Il mondo della luna (1777) 3 acts 8. La vera costanza (1779) 3 acts Mozart probably knew its score 9. L'isola disabitata (1779) 2 acts 10. La fedeltà premiata (1781) 3 acts Mozart saw it in Schikaneder's version/Influenced Mozart's Così fan tutte 11. Orlando Paladino (1782) 3 acts The most popular opera by Haydn/Mozart probably knew its score 12. Armida (1784) 3 acts 13. L'anima del filosofo (1791) 4 acts |
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Haydn, L'anima del filosofo ossia Orfeo ed Euridice (Complete) Harnoncourt with Bartoli, Saccà - Theather an der Wien, 1995 |
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Have you read a particular book on Mozart Era you consider important for the comprehension of the music of this period? | |
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Rachel Hewitt's A Revolution of Feeling: The Decade that Forged the Modern Mind. It is not necessarily a book that would shine a light on Mozart, but will definitely make an interesting read about the decade that followed his death. |
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Name a movie or a documentary that can improve the comprehension of the music of this period. | |
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It would have to be Stanley Kubrick's Barry Lyndon. Even though his musical choices may not correspond entirely to the era, the 18th-century images which he brought to life are unsurpassed. ________________________________________ 1975: Stanley Kubrick's BARRY LYNDON 50th Anniversary - The Soundtrack ________________________________________ 1. Handel: Sarabande - Main Title from the Keyboard Suite HWV437 7. Frederick II of Prussia (?): Hohenfriedberger March 10. Mozart: March from Idomeneo 11. Handel: Sarabande - Duel from the Keyboard Suite HWV437 13. Schubert: German Dance No. 1 in C major 14. Handel: Sarabande - Duel from the Keyboard Suite HWV437 15. Paisiello: Film Adaptation of the Cavatina from Il Barbiere di Siviglia 16. Vivaldi: Cello Concerto in E minor (3rd mov) 17. Bach J.S.[K. Richter]: Adagio from Concerto for 2 harpsichords in C minor 18. Schubert: Film Adaptation of Piano Trio in E-flat Op. 100 (2nd mov) 19. Handel: Sarabande - End Title from the Keyboard Suite HWV437 Other music: traditional (Piper's Maggot Jig, The Sea Maiden, The British Grenadiers, Lillibullero) By Seán Ó Riada: Women of Ireland and Tin Whistles The film received 4 Academy Awards; among them: Best Cinematography: John Alcott Best Music, Scoring Original Song Score and/or Adaptation: Leonard Rosenman |
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Stanley Kubrick's Barry Lyndon: New Trailer 2016 (BFI) |
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Barry Lyndon: 50th Anniversary 4K Restoration (2025) |
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Stanley Kubrick's Barry Lyndon: The Art of Kubrick's Cinematography |
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Stanley Kubrick's Barry Lyndon: The Techniques of Kubrick's Cinematography |
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Stanley Kubrick's Barry Lyndon: Kubrick's Editing Process |
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Do you think there's a special place to be visited that proved crucial to the evolution
of the 18th century
music? |
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Again I return to Haydn and the concert hall in Esterhàza Palace,
where he performed many of his works. I was there only once, but found it absolutely fascinating... ... It was as exciting as visiting a room in the Ducal Palace in Mantua, where Monteverdi first performed his opera Orfeo. ________________________________________ GALLERIES: Haydn in Esterhàza (Fertőd) ________________________________________ A: Esterhàza Palace in Fertőd (Hungary) with 2 HD Video Tours & a Haydneum Concert Season Presentation B: VIRTUAL HAYDN ALBUM: Tom Beghin & Esterhàza Palace Real Acoustics C: Haydn's House in Fertőd D: The other Esterhazy Palace in Eisenstadt with Concert Hall, Haydn's memorabilia and house | ||
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Inside the Secretive Palace of the Esterhazy: HD Tour A |
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Haydneum Concerts in Eszterháza 2025 |
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Inside the Secretive Palace of the Esterhazy: HD Tour B |
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| Thank you very much for having taken the time to answer our questions! | ||
| Thank you! | ||
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Esterhàza Palace in Concert: Homage to Haydn |
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The other Esterhazy Palace (Eisenstadt) and its Concert Hall, an exhibit with Haydn's memorabilia & Haydn's House in Eisenstadt |
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The other Esterhazy Palace (Eisenstadt): the Official Music Seasons |
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