medieval.or
leones.de
musikleben.wordpress.com
Naxos 8.573346
2015
The period of the early Habsburgs, from c.1340 to c.1520, saw the development of a richly diverse musical culture in the Austrian region. This pioneering selection, the product of an extensive research project conducted at the University of Vienna, presents an overview of music in everyday life, in many cases in première recordings performed by Ensemble Leones. The music is sacred and secular, allowing the listener to eavesdrop on Tyrolean palaces, dance halls and bourgeois homes, and on the singer-poets who travelled the country where old local styles fused with the latest international fashions.
The recordings by
Ensemble Leones brought together on this release grew out of an academic
research project at the University of Vienna led by the music historian
Professor Birgit Lodes. This project, entitled “Musical Life of the
Late Middle Ages in the Austrian Region (c.1340- c.1520)”, which has
been sponsored by the FWF (Austria’s central fund for the promotion of
academic research), makes it possible to experience through music a
period of European cultural history during which the house of Habsburg
emerged as a world power and Vienna as a city of music.
Reinhard Strohm
A Century of Variety
Marc Lewon
(1)
Müller, Ulrich: „Oswald von Wolkenstein: ‚Zergangen ist meins herzen
we‘ (Kl 116): Das erste europäische Naturgedicht?“, in: Grzywka,
Katarzyna (ed.): Kultur - Literatur - Sprache. Gebiete der Komparatistik. Festschrift für Herrn Professor Lech Kolago zum 70. Geburtstag, vol. 2, Warszawa 2012, pp. 851-869.
Ensemble Leones, a high profile ensemble of Early Music specialists founded by director Marc Lewon, is dedicated to presenting Medieval and Renaissance music. The ensemble’s work is characterized by performances that take into account historical sources to create subtle reconstructions and stylistically informed arrangements, which flow into their inspired interpretations. The ensemble’s signature features are the search for unknown compositions and sources as well as the re-introduction of rarely-heard instruments into the performance practice of Early Music. With their pioneering work and their reinterpretation of familiar pieces in concerts and recordings, Leones set new standards: all of the ensemble’s albums have so far received wide acclaim from the critics, including regular nominations for the International Classical Music Awards (ICMA). The ensemble has performed to great success on the stages of renowned festivals such as the Stockholm Early Music Festival, the Heidelberger Frühling and the Festival Oude Muziek Utrecht. The musicians met at the Schola Cantorum Basiliensis, the famous Swiss academy for Early Music, and are well established in the world of concerts, recordings and broadcasts.
Heinrich Isaac (1450/55-1517)
1. Argentum et aurum (Silver and gold) [3:11]
Text: Matins antiphon for the Feast of Saints Peter and Paul (Acts 3,6; Acts 12,5.7)
EJV, viola d'arco US ML, Renaissance gamba ER
D-Mbs mus. MS 3154 (“Leopold-Codex”, Innsbruck, c.1466-c.1511), fol. 72v-73r
Neidhart
2. Vyol – Urlaub hab der wintter (Violet –Winter, be gone) [6:37]
RG, vielle BR, cetra ML
Sterzing/Vipiteno, Stadtarchiv, s.s. (“Sterzinger Miszellaneen-Handschrift”, Brixen?, c.1400-1410), fol. 48v-49r
Hugo von Montfort (1357-1423)
3. Ich fragt ain wachter (I asked a watchman) [6:13]
EJV, vielle BR, cow horn MA
D-HEu cpg 329 (Styria, 1414/1415), fol. 11 r-v
Der Mönch von Salzburg / The Monk of Salzburg (late 14th c.)
4. Das kchúhorn – Untarnslaf (The cow horn – A midday nap) [1:37]
EJV, RG
A-Wn 2856 (“Mondsee-Wiener Liederhandschrift”, Salzburg?, first half 15th c.), fol. 187r-v
Oswald von Wolkenstein (c.1377-1445)
5. Skak – Frölich geschrai so well wir machen (Let us have a merry kerfuffle) [1:15]
EJV, vielle ER, plectrum lute ML
A-Iu s.s. (“Wolkenstein Codex
B”, Basel/South Tyrol?, 1432), fol. 23v-24r & A-Wn 5094
(Vienna, mid-15th c.), fol. 148v
Anon. (late 14th c.)
6. Soyt tart tempre (Whether early or late) [1:31]
vielle BR ER, plectrum lute ML
A-Wn mus. MS 1953.B (“Vienna Ars Nova Fragments”, England?, early 15th c.), fol. 1 b
Anon. (late 14th c.)
7. Or sus vous dormes trop (Get up, you sleep too long) [5:57]
EJV, vielle ER ML
A-Wn 3917 (“Vienna Ars Nova Fragments”, France?, early 15th c.), binding
Oswald von Wolkenstein
8. Durch Barbarei, Arabia (Travelling through the land of the Berbers and Arabia) [2:31]
symphonie TM
A-Iu s.s. (“Wolkenstein Codex B”, Basel/South Tyrol?, 1432), fol. 18v-19r
Neidhart
9. Der sunnen glanst (The glittering sun) [4:44]
EJV, vielle BR
A-Wn s.n. 3344 (“Eghenvelder-Liedersammlung”, Vienna/Hainburg, c.1431-1434), fol. 107r-v
Neidhart
10. Do man den gumpel gampel sank (When it was the season to sing the hip-swing dance) [8:18]
ML, vielle BR, plectrum lute ML
A-Wn s.n. 3344 (“Eghenvelder-Liedersammlung”, Vienna/Hainburg, c.1431-1434), fol. 107v-108r
Oswald von Wolkenstein
11. Freu dich, du weltlich creatúr (Rejoice, worldly creature) [2:16]
vielle BR ML, medieval trasverse flute LE
A-Wn 2777 (“Wolkenstein Codex A”, Vienna?, 1425), fol. 16r-v
Oswald von Wolkenstein
12. Zergangen ist meins herzen we (My heart’s sorrows have dissolved) [5:03]
RG, cetra ML
A-Iu s.s. (“Wolkenstein-Handschrift B”, Basel/South Tyrol?, 1432), fol. 47v-48r
Anon. (c.1400)
13. Gegrusset seistu maria (Hail Mary, purest of virgins) [5:36]
EJV, vielle BR
A-Wn s.n. 3344 (“Eghenvelder-Liedersammlung”, Vienna/Hainburg, c.1431-1434), fol. 100v-101 r
Hermann Edlerawer (c.1395-c.1460)
14. Hermann Edlerawer [2:58]
viola d'arco US ER
D-Mbs clm 14274 (“Codex St. Emmeram”, begun in Vienna c.1435), fol. 103r
Anon. (15th c.)
15. Von osterreich – Sig, säld und heil (From Austria – Victory, happiness and health) [0:57]
viola d'arco US, Renaissance violin BR, Renaissance gamba ER
D-Mbs cgm 810 (“Schedel Song Book”, begun in Leipzig c.1460), fol. 122v-123r & 144v
Anon. (late 15th c.)
16. So stee ich hie auff diser erd (Thus I stand here on this earth) [1:04]
RG, viola d'arco US, Renaissance violin BR, Renaissance gamba ER
D-Mbs Mus. MS 3154 (“Leopold-Codex”, Innsbruck, c.1466-c1511), fol. 51v
Anon. (mid-15th c.)
17. Alle dei filius (Halle[lujah]. God’s son) [2:12]
RG, viola d'arco US ER, Renaissance violin BR
I-TRmn 91 (“Trent Codex 91”, Trent, 1445-1475), fol. 94v
Anon. (early 15th c.)
18. My ladi, my ladi, myn happ (My lady, my lady, my joy) [1:32]
EJV, vielle ML
A-Wn Mus.Hs. 1953.B (“Vienna Ars Nova Fragments”, England?, early 15th c.), fol. 1a
Guillaume Du Fay (1397-1474)
19. Seigneur Leon (Sir Leon) [1:20]
EJV, viola d'arco US ER ML
A-Wn 5094 (Vienna, mid-15th c.), fol.
154v-155r & F-Pn fr. 15123 (“Chansonnier
Pixérécourt”, Florence, c.1480), fol. 27v-28r
Anon. (late 15th c.)
20. Gespile, liebe gespile gút (Beloved, dear good beloved) [0:50]
EJV, RG, viola d'arco ML, Renaissance gamba ER
D-Mbs Mus. MS 3154 (“Leopold-Codex”, Innsbruck, c.1466-c.1511), fol. 52v
Anon. (late 15th c.)
21. Es sassen höld in ainer stuben (Sitting in a room, fair to behold) [0:51]
viola d'arco ML, Renaissance violin BR, Renaissance gamba ER
D-Mbs Mus. MS 3154 (“Leopold-Codex”, Innsbruck, c.1466-c.1511), fol. 53r
Anon. (late 15th c.)
22. Ich sachs ains mals (Once I saw) [1:08]
EJV, RG, viola d'arco ML, Renaissance gamba ER
D-Mbs Mus. MS 3154 (“Leopold-Codex”, Innsbruck, c.1466-c.1511), fol. 52r
Oswald von Wolkenstein? - Nicolaus Krombsdorfer (d. 1479)?
23. Heýa, heýa nun wie si grollen (Hey, hey how they are raging) [0:59]
RG, viola d'arco US, Renaissance violin BR, Renaissance gamba ER
A-LIb 529 (“Linz Fragments”,
Linz?, c.1500), Fragment 2 & I-TRmn 89 (“Trent Codex
89”, Trent, 1445-75), fol. 388v-389r
Johannes Martini (c.1430/40-1497)
24. La Martinella [2:07]
viola d'arco US, Renaissance violin BR, Renaissance gamba ER
I-Fn Banco Rari 229 (Florence, c.1492), fol. 12v-13r
Anon. (early 16th c.)
25. Pavane [1:30]
viola d'arco US ML, Renaissance violin BR, Renaissance gamba ER
D-As Mus. MS 2° 142a (“Augsburger Liederbuch”, Augsburg?, 1505-14), fol. 15r
Anon. (early 16th c.)
26. Mantúaner dantz (Mantuan Dance) [1:23]
viola d'arco US, Renaissance violin BR, Renaissance gamba ER
D-As Mus. MS 2° 142a (“Augsburger Liederbuch”, Augsburg?, 1505-14), fol. 18r-19v
Paul Hofhaimer (1459-1537)
27. Gottes namen faren wir (In God’s name we travel) [1:47]
EJV, RG, Renaissance violin BR, Renaissance gamba ER
A-Wn 18810 (Augsburg, 1524), fol. 22r/24v-25r/21v-22r/22r-22v
Pfabinschwantz (fl. c.1500)
28. Maria zart, von edler art (Dear Mary, of noble descent) [3:11]
RG, viola d'arco US, Renaissance violin BR, Renaissance gamba ER
D-WÜst, Kloster Ebrach Bücher (D7) (Ebrach, c.1500-1505), Nr. 11/II, fol. 16r-19r
World Première Recordings:
tracks #1, 9, 13, 14, 15, 18, 21, 22, 23, 28
& contratenor voice of track #6
Ensemble Leones
www.leones.de
Els Janssens-Vanmunster, Voice
1 3-5 7 9 13 18-20 22 27
Raitis Grigalis, Voice
2 4 12 16 17 20 22 23 27 28
Baptiste Romain
Vielle 2 3 6 9-11 13 • Renaissance violin 15-17 21 23-28
Uri Smilansky
Viola d’arco 1 14-17 19 23-26 28
Elizabeth Rumsey
Renaissance gamba 1 15 16 20-28 • Vielle 5-7 • Viola d’arco 14 17 19
Marc Lewon (ensemble director)
Viola d’arco 1 19 20-22 25 • Cetra 2 12 • Plectrum lute 5 6 10 • Voice 10 • Vielle 7 11 18
Liane Ehlich (guest)
Medieval transverse flute 11
Tobie Miller (guest)
Symphonie 8
Miriam Andersén (guest)
Cow horn 3
Instruments and Makers:
• Marc Lewon: Plectrum lute – Stephen Gottlieb, London (UK) 2001; Viola d’arco – Richard Earle, Basel (CH) 2009;
Cetra – Julian Behr, Wyhlen (D) 2012; Vielle – Stepan Tykhonenko, Uzhgorod (UA) 1998
• Baptiste Romain: Vielle – Judith Kraft, Paris (F) 2007; Vielle – Roland Suits, Tartu (EST) 2006;
Renaissance violin – Richard Earle, Basel (CH) 2008
• Uri Smilansky: Viola d’arco – Richard Earle, Basel (CH) 1991
• Elizabeth Rumsey: Viola d’arco – Richard Earle, Basel (CH) 2012;
Renaissance gamba – Francisco Pecchia, Barcelona (E) 2012; Vielle – Roland Suits, Tartu (EST) 2011
• Liane Ehlich: Medieval transverse flute – Giovanni Tardino, Frascati (I) 1998
• Tobie Miller: Symphonie – Wolfgang Weichselbaumer, Vienna (A) 2006
• Miriam Andersén: Cow horn – Berndt Lindström, Stjärnsund (S) 2007
Recorded at Schlosskirche Beuggen, Germany, from 9th to 12th April, 2013
Producer and musical director: Marc Lewon • Engineer and editor: Michaela Wiesbeck
Thanks go to Elizabeth Rumsey for coining the title of this recording.
With thanks to the research project “Musical Life of the Late Middle Ages in the Austrian Region”,
Vienna, Austria
Booklet notes: Reinhard Strohm and Marc Lewon
The Latin, Early New High German and Middle French sung texts,
along with modern German
and English translations,
can be accessed at www.naxos.com/libretti/573346.htm
Cover: The Gold Merchant and his Wife (detail) by Quentin Massys (1466-1530) (akg-images)
Argentum et aurum
Musical Silver and Gold
Ensemble
Leones’ aim is to recreate a little of the sound-world familiar to
people of that time. The listener is invited to eavesdrop on various
15th-century musical entertainments. Imagine, for example, a luxuriously
furnished room in a Tyrolean palace c.1490, where the Flemish virtuoso
Heinrich Isaac is performing his latest motet for the prince and his
family [1]. The text, Argentum et aurum non est mihi, quod autem habeo, hoc tibi do
(Silver and gold have I none; but such as I have I thee give), is taken
from the Biblical story of Peter healing the cripple. Is the composer
trying to tell the prince that whilst he, Isaac, might not own any
silver mines, he does have his music to offer – and suggesting that
perhaps he might receive some of the abundance of the precious metal
then being mined in the Tyrol by way of recompense?
In the
Austrian region, patronage of travelling artists had already begun under
the Babenberg dynasty. Being a proud nobleman in the service of Duke
Frederick II (the Bellicose), the minnesinger Neidhart (c.1190-c.1236)
was in a position to deride the peasants (“Dörfler”). But that did not
stop him incorporating some of their tales into his texts. Around
1431-1435 the Viennese student and future schoolmaster Liebhard
Eghenvelder noted several traditional Neidhart melodies in a commonplace
book that he kept for his own use [9, 10]. He also noted down songs
with a different provenance, such as the beautiful Ave Maria paraphrase Gegrusset seistu maria
(Hail Mary, purest of virgins) [13]. Musical material of this type –
monophonic, easy to sing — was intended for personal use, perhaps in a
schoolmaster’s house.
Noble singer-poets did not need to be
composers as well. Around 1400, Count Hugo of Montfort had the melodies
to his poems composed by his “squire” (or minstrel) Bürk Mangolt – among
them the tune to Ich fragt ain wachter (I asked a watchman) [3],
which sits well with the longing for the life to come that is expressed
in the verse. Hugo of Montfort’s contemporary, the hitherto
unidentified “Monk of Salzburg”, on the other hand, tried to encapsulate
both the world of the spirit and the natural world in monophonic song. Das kchúhorn — Untarnslaf
(The cow horn – A midday nap) [4], to be accompanied on the natural
notes of a cow horn, is, on the one hand, a satire of the lazy
peasantry, and on the other a striking miniature of life in the country.
Only Oswald von Wolkenstein, a knight from South Tyrol whose more than
100 songs finally overstep the bounds of courtly tradition, was bold
enough to essay such musical realism.
His song Frölich geschrai so well wir machen
(Let us have a merry kerfuffle) [5] is a realistic evocation of a scene
in a brothel; its polyphonic structure even manages to reproduce the
jumble of sounds characteristic of such a setting. The marginal
annotation “Skak” in a Vienna manuscript is a reference to the
instrument known as the “Schack” (exchiquier) — an early form of
dulcimer, on which Oswald himself may have played the song. Freu dich, du weltlich creatúr (Rejoice, worldly creature) [11] can also be performed polyphonically with instruments alone. In the strophic song Durch Barbarei, Arabia
(Travelling through the land of the Berbers and Arabia) [8] the poet
presents himself as a much-travelled man of action, who is now
discontentedly growing old at home in his castle. From there (in [12]),
while the birds are singing their spring songs, he gazes down
melancholically, seeing the misdeeds of his enemies emerging from under
the melting snow, and feels his own “heartfelt pain” also melting away.
With the words “Heýa, heýa” (Hey, hey) [23], Oswald pokes fun at the fat
peasants on Rittner Alm around the year 1444, after he has again got
his own back on them. The melody of the four-line strophe (the other
verses have been lost) was given a four-part setting around 1460- 1465,
perhaps by Nicolaus Krombsdorfer, who was then cantor at the court in
Innsbruck.
Manuscript fragments in the Austrian National Library add to our picture of the musical life of the period. The love address Soyt tart tempre (Whether early or late) [6], set out in a manner reminiscent of a dialogue, and the splendid bird-call song Or sus vous dormes trop
(Get up, you sleep too long) [7], from the polyphonic repertoire of
northern France, were well-known in the region circa 1400. The English
song My ladi, my ladi, myn happ (My lady, my lady, my joy) [18] may have been brought to the area by the same person.
Hermann
Edlerawer was cantor at St Stephen’s Cathedral in Vienna from 1441 to
1444. He imitated the elegant chansons of Binchois and Guillaume Du Fay –
for example in his rondeau Hermann Edlerawer, which sadly was
noted down without text, the author’s name here replacing the title
[14]. The humanist Hartmann Schedel from Nuremberg seems to have noted
down the three-part setting of Von osterreich – Sig, säld und heil
(From Austria – Victory, happiness and health) [15] a in a book of
songs he collected on his student travels whilst in “Austria” (c.1463).
The song also occurs in Tyrolean sources as a cantus firmus in church music. Seigneur Leon
(Sir Leon, c.1441) [19], a four-part eulogy of Leonello d’Este,
Margrave of Ferrara, is nowadays attributed to Du Fay. Doubtless this
outstanding composition appealed to Viennese musicians, who included it
in a collection of music assembled for practical use (A-Wn 5094).
The
extensive codex of Nikolaus Leopold (D-Mbs Mus. MS 3154) was produced
in the court chancery at Innsbruck c.1470-1510. A number of short
sentences on the subject of regional love songs or “courtly airs” [16,
20-22] reflect international stylistic trends. Such elaboration of
well-known melodies was extremely popular. In the anonymous Alle dei filius (Halle[lujah]. God’s Son) [17], the processional trope Triumphat dei filius
is richly ornamented with subsidiary parts. Salzburg master-organist
Paul Hofhaimer (1459-1537), who worked in Innsbruck as a young man, made
a four-part arrangement of the old pilgrim’s song (In) gottes namen fahren wir, (In God’s name we travel) with two voices in canon, as though one person were following the other [27]. The sacred song Maria zart, von edler art
(Dear Mary, of noble descent, c.1500) [28] a was given a makeover by a
musician from Augsburg known as “Pfabinschwantz” (peacock tail).
At
the same time as it was becoming increasingly common practice to play
vocal music on instruments, purely instrumental pieces and genres were
also gradually emerging. Among the latter was the Italian “fantasia”.
The Netherlandish composer Johannes Martini wrote a piece of this type
in around 1465 [24]. Its Italian title La Martinella identifies him as its creator. This was later to become the norm with dance compositions. The Pavane [25] and the Mantúaner dantz
(Mantuan Dance) [26] are polyphonic treatments of dance tunes, though
it is fairly unlikely that they were actually used for dancing, the
purpose of music of that time being not only to accompany actual
activities, but also to preserve the memory of them and call them back
to mind as and when required.
When
Ensemble Leones accepted the challenge of recording these musical
examples representing “secular monophony and polyphony” and
“instrumental music” for the “Musical Life” project outlined above, they
found themselves faced with the exacting task of realising in a
stylistically appropriate manner repertoire drawn from a wide variety of
contexts, styles and sources and spanning an entire century. The
traditional forms of secular monophony which, in the 15th century, could
already look back on a 300-year-old tradition, demanded a completely
different approach in terms of forces, instruments, tuning and
interpretation to the latest polyphonic developments of this era.
We
therefore undertook to depict this musical landscape with a broad
variety of instrumental and vocal colours on the one hand, and by means
of two different musical “temperaments” (tuning systems) on the other.
For the monophonic songs and the polyphonic compositions that reflect
14th-century practice, we chose the lute, hurdy-gurdy and vielle –
typical accompanying instruments tuned according to the Pythagorean
system. The later song settings we performed with a homogenous ensemble
of viole d’arco tuned according to the mean-tone system. The differences
between the vocal parts also needed to be brought out. A sung cantus firmus such as those found in Heinrich Isaac’s Argentum et aurum (Silver and gold) [1], which gives the album its title, in Paul Hofhaimer’s Gottes namen faren wir (In God’s name we travel) [27], or in the anonymous Alle dei filius
(Halle[lujah]. God’s Son) [17], makes quite different technical demands
on the singer to the monophonic songs in several verses belonging to
the Neidhart tradition, such as Der sunnen glanst (The glittering sun)
[9] or Do man den gumpel gampel sank (When it was the season to
sing the hip-swing dance) [10]. With these, the text needs to be
declaimed like a narrative. The late, polyphonic song settings from the
Innsbruck codex of Nikolaus Leopold [16, 20-22] require the singers to
strike a balance between blending with the instruments and shaping their
individual lines. Because of these very different approaches, the
traditional, long-established styles stand in clear contrast to the
novel sonorities of the period, showing to good effect the great variety
of styles being cultivated simultaneously.
A number of
historical testimonies to the popularity at this time of “Neidhart”
songs amongst the burghers and in university circles are still extant in
Vienna, among them Liebhard Eghenvelder’s collection of songs, the
Neidhart grave at St Stephen’s Cathedral, the Neidhart frescoes of
Tuchlauben 19 and the sketches of Neidhart figures in a university
manuscript. These seem to have some connection with the “Neidhart plays”
(“Neidhartspiele”), for which the Tyrol was an important centre
alongside Vienna. The seed from which these theatre-like performances
grew was the “Violet Prank” (“Veilchenschwank”), which is to be found under the heading Vyol
(Violet) [2] in the Sterzing Miscellanea Manuscript (Sterzinger
Miszellaneen-Handschrift). There are still echoes of 13th-century
minnesang in many of these “Neidhart” songs – as also in those by Hugo
von Montfort (Ich fragt ain wachter/ I asked a watchman) [3].
Oswald von Wolkenstein’s contrafactures of French compositions, such as the polyphonic Skak – Frölich geschrai so well wir machen
(Let us have a merry kerfuffle) [5], linked these local forms with the
polyphonic innovations of the 14th and 15th centuries. This recording
contains world première recordings of music from recently discovered
fragments containing some familiar pieces (Or sus vous dormes trop / Get up, you sleep too long) [7] and some hitherto unknown compositions or parts (such as the two-part English song My ladi, my ladi, myn happ (My lady, my lady, my joy) [18], or a hitherto unknown contratenor part to Soyt tart tempre (Whether early or late) [6]), which may have found their way into the Austrian region via the Council of Constance (1414-1418).
In memory of our late friend, the Oswald specialist Ulrich Müller (d. 14th October 2012), we recorded the song Zergangen ist meins herzen we
(My heart’s sorrows have dissolved) [12], which was the subject of his
last article and which shows quite a personal side of Oswald with its
description of the coming of spring around his castle (1).
Translations: Susan Baxter
Ensemble Leones
www.leones.de
www.facebook.com/ensemble.leones
Marc Lewon
Marc Lewon specialises in medieval instruments of the lute family and medieval Germanic languages and literature. After gaining a Master’s degree in musicology and medieval German from Heidelberg University, he moved to Basel to further his practical music studies in the Medieval Department of the Schola Cantorum Basiliensis where he completed his diploma in medieval lute, graduating with honours. Marc Lewon is founder and head of Ensemble Leones. He plays regularly with a number of ensembles including Unicorn, Le Miroir de Musique and Les Flamboyants and has participated in numerous commercial recordings and radio and television broadcasts. He works with leading soloists in the field of Early Music, among them Andreas Scholl, Crawford Young and Benjamin Bagby and is a guest musician with a number of renowned early music ensembles. Besides being a busy performer, he gives courses in medieval music and publishes articles and editions on the subject. He is also head of the course of studies in medieval music at Burg Fürsteneck, Germany, and is artistic advisor to the Tager Alter Musik & Literatur Festival, Worms, Germany, and the Klangraum Dobra Festival in Austria. He is working on his PhD thesis with Prof. Reinhard Strohm at Oxford University and is part of the research project “Musical Life of the late Middle Ages in the Austrian Region (c.1340-1520)”.