chordae freybergenses (hier für deutsche Version)

The chordae freybergenses ensemble was founded in 2005 by Susanne Scholz and was developed
from the greater research project of around the Freiberg instruments and the close
collaboration with the Museum for Musical Instruments of the University of Leipzig.
The instruments are the central interest of chordae freybergenses. The are copies of
the five Freiberg Renaissance violins that have remained almost untouched from
the moment of being placed in the hands of the angels in 1594 until today. What is
incredible and unique about this setup is having the opportunity to engage with a
whole ensemble of violins made by one and the same violin maker.
To fully do these instruments justice by developing an appropriate playing technique,
by exploring their music, and by translating the insights musically and theoretically,
is the starting point and ultimate aim of the chordae freybergenses ensemble.
For this, Susanne Scholz has gathered musicians from different countries, who in
turn carry their enthusiasm about the Freiberg violins out into the world.
Susanne Scholz (small discant violin), Jonathan Talbott (discant violin), Dario Luisi
(tenor violin), Mark Vanscheeuwijck and Jörg Meder (bass violins) are not only connected
through their enthusiasm for renaissance music and its underlying principles,
but also through the love of good cuisine and shared feasts. This is also true for the
two singers on our last CD, Clarissa Thiem (soprano) and Giovanni Cantarini (tenor).
In joyful workshop days the musicians explore all available play techniques such
as positioning variants, bowing techniques and articulatory possibilities as well as
theoretical background such as hexachord solmisation, questions of notation, text
interpretation, transposition and instrumentation variants.
chordae freybergenses agrees that the five violins from Freiberg are not only special
because they are unique: after decades of experience with historical violin family
instruments, with performance practices of renaissance and baroque music, and with
performing on examples of early baroque violin craftsmanship, the Freiberg violins
still offer their performers a unique and special experience.
Eliciting the instruments’ typical sound, situated somewhere between viola da gamba
and violin, needs very conscious and well conducted bowing – resulting in a sound
cloud rich in overtones and harmonics, which especially when all five instruments
are played together, fills an entire church hall and once again evokes an angelic choir.

Susanne Scholz