ANDRÁS SCHIFF - Società del Quartetto di Vicenza

OMAGGIO A PALLADIO
XIV edizione
ANDRÁS SCHIFF
CAPPELLA ANDREA BARCA
SCHOLA SAN ROCCO - FRANCESCO ERLE maestro del coro
6 - 7 - 8 maggio 2011
BASILICA DEI SANTI FELICE E FORTUNATO - TEATRO OLIMPICO
VICENZA

OMAGGIO A PALLADIO
XIV edition
ANDRÁS SCHIFF
CAPPELLA ANDREA BARCA
SCHOLA SAN ROCCO - FRANCESCO ERLE choirmaster
6 May 2011 08.30 p.m.
BASILICA DEI SANTI FELICE E FORTUNATO
Vicenza
7 - 8 May 2011 08.30 p.m.
TEATRO OLIMPICO
Vicenza

SCHIFF AND PALLADIO: LOVE AT FIRST SIGHT
Founded in 1910 by Antonio Fogazzaro – several times candidated to the Nobel Prize – the “Società
del Quartetto di Vicenza” is one of the oldest and most renowned Italian concert associations.
Except for a brief interruption caused by the two world wars, the Association has played a key role
in the promotion and diffusion of musical culture in the city of Vicenza and, more generally, in
the Veneto area.
During this time, thanks to the “Società del Quartetto”, some of the protagonists of the musical
history of the twentieth century have performed in Vicenza: pianists such as Alfred Cortot, Clara
Haskil, Wilhelm Kempff, Arthur Rubinstein, Rudolf Serkin, Sviatoslav Richter, Arturo Benedetti
Michelangeli, Claudio Arrau, Maurizio Pollini... violinists such as Jacques Thibaud, Isaac Stern,
Nathan Milstein, Jascha Heifetz, Yehudi Menuhin... cellists such as Paul Tortelier, János Starker,
Mstislav Rostropovich... Moreover, the Modern Jazz Quartet, Andrés Segovia, Sándor Végh, José
Carreras, Claudio Abbado, Giuseppe Sinopoli, symphony and chamber orchestras and other ensemble:
among these, the greatest String Quartets of the past Century such as Amadeus, Juilliard,
Busch, Smetana, Kolisch, Budapest, Tokyo, Borodin and the legendary Quartetto Italiano.
The “Omaggio a Palladio” festival by András Schiff - this unique event from 1910 until today - has
already become part of this glorious history.
The council, the artistic director and the staff of “Società del Quartetto” are still inspired by the
same love and enthusiasm of those who led the Association a century ago, adding a special care
to the young large audience.
Just to mention some of the artists who played for us in the last two seasons, we can mention Salvatore
Accardo, Gidon Kremer, Thomas Zehetmair, Krystian Zimerman, Radu Lupu, Manuel Barrueco,
Bobby McFerrin, The King’s Singers, Michelangelo String Quartet, Philippe Herreweghe
conducting Orchestre des Champs-Élysées, Frieder Bernius conducting Kammerchor Stuttgart...
The fourteenth edition of “Omaggio a Palladio” festival, which started in 1998 thanks to a “love at
first sight” between Maestro Schiff and the incomparable Teatro Olimpico’s scenography, closes
a concert season, the 101st one, which has seen the participation of over 25.000 spectators. This
means that “Società del Quartetto” is the main concert Association in Veneto Region and among
the most active ones in Italy.
This year we are particularly pleased to welcome, among our visitors, our friends of the Association
“Freude und Förderer der Cappella Andrea Barca e.V.” and the numerous fans coming from
10 different Countries, who meet every year in Vicenza, to attend this weekend of great music
thanks to the Hungarian pianist and conductor and his orchestra composed by musicians coming
from 12 Countries.
We feel sure that it will be an unforgettable experience for everyone: the public and the musicians.
Basilica dei Santi Felice e Fortunato
The Church of SS. Felice e Fortunato is an architectural
structure bearing clear signs of the early
Christian period, intimately linked with the origins
of Christianity at Vicenza.
The first church, in the form of a hall (10 x 20
m), may be dated at the beginning of the fourth
century A.D.; it was followed by a second early
Christian church with three naves which was
flanked by the Chapel of the Martyrion di Santa
Maria Mater Domini (398 A.D.). The church was
destroyed by the Hungarians in 899 and later rebuilt
as an almost completely faithful replica of
the original. Inside the church there are splendid
and important mosaic floors (4 th century A.D.),
while the paintings there include the altar-piece
by Alessandro Maganza, “St. Valentine healing
the sick” (around 1585); this is linked with the traditional
feast of St. Valentine which, every year on
February 14 th, draws many people from Vicenza
to this thousand-year-old church. Unmistakable
and characteristic is its Romanesque bell-tower
(1160), with battlements and octagonal spire.
Teatro Olimpico
The Theatre of the Olimpic Academy, begun in
the first months of 1580, is Andrea Palladio’s last
work. He never saw it completed as he died in
August of the same year and it was his son Silla
that brought the building to completion. In 1585
Vincenzo Scamozzi carried out the scenography
for the inaugural opening, adding behind
the Palladian proscenium the Seven streets
of Thebes that were to become a permanent
part of the theatre. The Teatro Olimpico is the
dream of generations of Renaissance humanists
and architects come true: the realization of a
building that is symbolic of the Classical cultural
traditional. In the Palladian project the Roman
Theatre, accurately studied through the ruins of
ancient theatrical complexes, comes to life with
archeological precision. The “Olimpico” thus
becomes the spiritual will of the great architect
of Vicenza. The Theatre of the Antiquity comes
to life with the Teatro Olimpico, and in doing
so Palladio harmonizes perfectly with the great
classic architecture, whose rules and secret
harmony he had sought with “long labor, great
diligence, and devotion”.

to Fatima Terzo
unforgettable friend and tireless supporter of the festival
maestro András Schiff, Cappella Andrea Barca
and Società del Quartetto di Vicenza

FRIDAY MAY 6 th 2011, 08.30 p.m.
BASILICA DEI SANTI FELICE E FORTUNATO
Franz SCHUBERT (1797 - 1828)
Missa Solemnis No. 6 in E flat Major D 950 per soli, coro e orchestra
Meike LELUSCHKO soprano
Britta SCHWARZ contralto
Werner GÜRA tenor
Antonio ROCCHINO tenor
Andreas WOLF bass
András SCHIFF conductor
CAPPELLA ANDREA BARCA orchestra
SCHOLA SAN ROCCO choir
Francesco ERLE choirmaster
Giovanna DAMIAN vocalist
*********************
Franz SCHUBERT (1797 - 1828)
Piano sonata No. 21 in B flat Major D 960
Molto moderato
Andante sostenuto
Scherzo (allegro vivace con delicatezza)
Allegro ma non troppo
András SCHIFF piano
Kyrie
Andante con moto, quasi Allegretto
Kyrie eleison.
Christe eleison.
Kyrie eleison.
Gloria
Allegro Moderato e maestoso. Andante con moto: Domine Deus. Tempo I: Quoniam.
Moderato: Cum Sancto Spiritu
Gloria in excelsis Deo.
Et in terra pax hominibus bonae voluntatis.
Laudamus te. Benedicimus te.
Adoramus te. Glorificamus te.
Gratias agimus tibi propter magnam gloriam tuam.
Domine Deus, Rex caelestis, Deus Pater omnipotens.
Domine Fili unigenite, Iesu Christe.
Domine Deus, Agnus Dei, Filius Patris.
Qui tollis peccata mundi, miserere nobis.
Qui tollis peccata mundi, suscipe deprecationem nostram.
Qui sedes ad dexteram Patris, miserere nobis.
Quoniam tu solus Sanctus. Tu solus Dominus.
Tu solus Altissimus, Iesu Christe.
Cum Sancto Spiritu, in gloria Dei Patris.
Amen.
Credo
Moderato. Andante: Et incarnatus est. Tempo I: Et ressurrexit.
Credo in unum Deum.
Patrem omnipotentem,
factorem caeli et terrae,
visibilium omnium et invisibilium.
Et in unum Dominum
Jesum Christum,
Filium Dei unigenitum,
Et ex Patre natum ante omnia saecula.
Deum de Deo, lumen de lumine,
Deum verum de Deo vero.
Genitum, non factum,
consubstantialem Patri:
per quem omnia facta sunt.
Qui propter nos homines
et propter nostram salutem
descendit de caelis.
Et incarnatus est de Spiritu Sancto
ex Maria Virgine:
Et homo factus est.

Crucifixus etiam pro nobis sub Pontio Pilato:
passus, et sepultus est.
Et resurrexit tertia die,
secundum scripturas.
Et ascendit in caelum:
sedet ad dexteram Patris.
Et iterum venturus est
cum gloria judicare vivos et mortuos:
Cujus regni non erit finis.
Et in Spiritum sanctum Dominum,
et vivificantem:
Qui ex Patre, Filioque procedit.
Qui cum Patre, et Filio simul adoratur,
et conglorificatur:
Qui locutus est per Prophetas.
(N.B. not composed by Schubert: Et unam, sanctam, catholicam et apostolicam Ecclesiam.)
Confiteor unum baptisma
in remissionem peccatorum.
Et expecto resurrectionem mortuorum
Et vitam venturi saeculi.
Amen.
Sanctus
Adagio. Allegro ma non troppo: Osanna.
Sanctus, Sanctus, Sanctus,
Dominus Deus Sabaoth.
Pleni sunt coeli et terra gloria tua.
Osanna in excelsis.
Benedictus
Andante
Benedictus qui venit
in nomine Domini.
Osanna in excelsis.
Agnus Dei
Andante con moto. Andantino: Dona nobis pacem. Allegro molto moderato: Agnus Dei.
Andantino: Dona nobis pacem.
Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi,
miserere nobis. Agnus Dei, qui tollis peccata mundi, dona nobis pacem.
Even though he wasn’t a fervent believer, at least according to his biography, the catalogue of
Schubert includes several sacred works: six latin Masses, one Mass and one Lutheran Requiem
and other pieces; the seeming discrepancy results from the fact that sacred music was often
commissioned and gave a source of profit for the musician. In particular, the composition
of his Mass n° 6 was assigned him by his friend Leitermayer, master of the choir in Alsergrund,
in 1828. This work is characterized by a symphonic breath, where choral parts are more
important than sections written for solo voices. There are some similarities with Beethoven’s
Missa Solemnis: following his example, Schubert uses expansive fugues and abundant counterpoints,
but he differs from him in the wideness of melodies, that are almost lyric, and in the
modulations, which are freer and bolder than those used in classic harmony.
It is very interesting to notice the sudden change into the minor mode at Crucifixus, or the
imposing entry of the Sanctus, in which the juxtaposition of distant chords generates a resonance
that gives us the impression of seeing an afterworld.
Beethoven’s death determined a very important transformation in the musical scene in Vienna:
in fact on the one hand, the leading reference figure was lost, on the other younger musicians
had the possibility to emerge from the shadow of the Maestro, asserting their personality
and becoming well known to the audience.
That’s why in 1828 Schubert completely devoted himself to composition, achieving significant
goals that are, at last, entirely romantic: we remember above all his last sonatas for piano, his
Mass in E-flat and other works, among which his last String Quintet, D 956. The three sonatas
D 958 – D 960 actually form a group, distinguished by common formal elements, such as the
division and the structure of the four movements, and by an overall stylistic connection which
enhances a close and deep feeling.
The sonata in B-flat major perfectly shows these characteristics: Schubert can’t forget Beethoven’s
teaching, but goes beyond those features, determining a personal language, which starts from time
expansion and produces a more fluent and less dramatic tone and a less consistent progress: it is
the so-called “divine length” (Schumann), that his contemporaries didn’t always understand.
“In Beethoven’s music we never lose our bearings, we always know where we are; Schubert, on
the other hand, puts us into a dream”: a difference stressed by Alfred Brendel who, developing
his thought, justifies the parallel he drew between Schubert and Mahler.
Schubert surpassed his master, but he didn’t reject him: the beginning of the Molto moderato
derives from the Trio op. 97 by Beethoven and the theme of the last movement is taken from
the last part of the Quartet op.130; this two references show that Schubert absorbed and understood
the preceding pattern and then he was able to evolve it.
Andrea Scarpari

SATURDAY MAY 7 th 2011, 08.30 p.m.
TEATRO OLIMPICO
Ludwig van BEETHOVEN (1770 - 1827)
Quintet Op. 16 in E flat for Piano and Winds
Grave - allegro ma non troppo
Andante cantabile
Rondò: allegro, ma non troppo
András SCHIFF piano
Louise PELLERIN oboe
Riccardo CROCILLA clarinet
Marie-Luise NEUNECKER horn
Klaus THUNEMANN bassoon
Johann Sebastian BACH (1685 - 1750)
Brandenburg Concerto No. 3 in G Major BWV 1048
Allegro
Adagio
Allegro
Erich HÖBARTH violin
Georg EGGER violin
Yuuko SHIOKAWA violin
Hariolf SCHLICHTIG viola
Jean SULEM viola
Anita MITTERER viola
Christoph RICHTER cello
Rudolf GLEISSNER cello
Xenia JANKOVIC cello
Christian SUTTER double bass
András SCHIFF conductor and cembalo
*********************
Ludwig van BEETHOVEN (1770 - 1827)
Symphony No. 3 in E flat Major op. 55 “Heroic”
Allegro con brio
Marcia funebre - adagio assai
Scherzo - allegro vivace
Finale - allegro molto
András SCHIFF conductor
CAPPELLA ANDREA BARCA orchestra
Before devoting himself to the composition of a symphony, Beethoven made sure he was able
to handle a great number of instruments: he composed his first quartets, the quintets op.4
and op.16 and the very famous septet. The Quintet in E-flat for piano and winds, which the
author himself arranged also as a quartet for piano and strings, with the same opus number,
was composed in 1796, following the example of Mozart’s Quintet K452: in fact, these two
works have the same structure and the same key. The first movement begins with a slow introduction,
integrated into the development section: here it is really evident his inspiration to
Mozart; in the Andante cantabile, the author offers a set of variations of increasing complexity
which are enriched with articulated musical figures. The Quintet ends with a Rondo in which
the piano is the leading instrument.
The so-called Brandeburg Concertos were composed by J. S. Bach while he was at the Court of
Kothen and were dedicated to Margrave of Brandeburg in 1721: at the beginning their value
wasn’t understood and they were neglected till 1850, when they were published in Leipzig.
The Concerto No. 3, in G major, is written for strings and basso continuo; if we consider the
practice of the time, it is surprising the lack of a soloist in dialog with the orchestra: on the
contrary, the balance among the instruments is one of the features of this concert. It is very
difficult to interpret the second movement, which is formed by just two chords that make up
a Phrygian cadence: perhaps Bach wanted to give a soloist the opportunity to improvise, or
simply to draw attention to fast movements. In fact, he succeeded in this second goal because,
after the opening Allegro, we find a lively gigue in 12/8 meter, a breathless dance which repeatedly
offers the main theme to the different instruments, as if it doesn’t want to come to an end;
Bach also uses the unison of cellos to strengthen this motif.
Luigi Di Fronzo wrote that the “Eroica Symphony” marks a turning point between 18 th and
19 th century: these few words state the importance of Beethoven’s Third Symphony in the
development of the genre. This work, in E-flat major, was completed in 1804 and gave rise to
great changes in the symphonic field for several reasons: for the clear celebration of a much
debated politician, for the style of this piece of music, characterized by short themes that are
repeated many times, for its total length and for the large number of instruments. When Napoleon
proclaimed himself emperor, the intellectuals, who had considered him the defender
of revolution, became disillusioned: Ries refers that Beethoven himself tore the first page of
the manuscript, containing the original title given to the symphony, “Bonaparte”.
On the musical level, the “Eroica” introduces great innovations, first of all the importance
given to brass: during the first performance, most critics thought the hornist had made a
wrong entrance when he started the recapitulation of the theme earlier than the orchestra, in
the first movement.
The highest point of the symphony is the Marcia Funebre: the grief, exalted by the dotted
rhythm and more austere in the central section, an interesting fugal passage, gathers strength
which ends in the Scherzo; the third movement, in fact, generates opposing feelings but keeps
the same creative energy.
Andrea Scarpari

SUNDAY MAY 8 th 2011, 08.30 p.m.
TEATRO OLIMPICO
Franz Joseph HAYDN (1732 - 1809)
London Symphony No. 95 in C Minor Hob.I:95
Allegro
Andante
Minuetto e trio
Finale: vivace
András SCHIFF conductor
CAPPELLA ANDREA BARCA orchestra
Franz SCHUBERT (1797 - 1828)
String Quintet in C Major op. posth. 163 D 956
Allegro ma non troppo
Adagio
Scherzo (presto) - trio (andante sostenuto)
Allegretto
Erich HÖBARTH violin
Kathrin RABUS violin
Hariolf SCHLICHTIG viola
Christoph RICHTER cello
Xenia JANKOVIC cello
*********************
Wolfgang Amadeus MOZART (1756 - 1791)
Piano Concerto No. 25 in C Major K 503
Allegro maestoso
Andante
Allegretto
András SCHIFF piano and conductor
CAPPELLA ANDREA BARCA orchestra
When Prince Nikolaus I Esterhazy died in 1790, Haydn happened to be in the awkward situation
of being a Kapellmeister without an orchestra: the Prince’s son, Anton, in fact had disbanded
the Court orchestra but had ensured the composer a guaranteed income. In this way
Haydn, who had been entirely busy to provide music for the Court, was free and could accept,
in 1791, the invitation of the music manager Salomon to go to London, where he had a huge
reputation and he met an outstanding success with the concerts for which he composed his
last twelve symphonies, the so called London Symphonies.
In this group the Symphony No. 95 has some features: it is the only one in a minor key and
without a slow introduction. In spite of the chosen key, the work keeps the brightness which
distinguishes Haydn’s lasts symphonies: the light and shade effects don’t darken the character
and the music is direct and comprehensible; Haydn, a really experienced symphonist, is able
to flatter the audience without becoming predictable and repetitive.
In music tradition, the string quintet has always been less popular than the quartet: it is even
more unusual to find quintets with two violins, two cellos and only one viola.
If we don’t mention George Onslow, neglected by history, the 113 quintets by Boccherini are
the only important precedent to the Quintet in C major by Franz Schubert: the introduction
of a second cello instead of a second viola gives more importance to the bass voices and
achieves a deeper tone.
Schubert uses instruments to create an almost orchestral volume and the work nearly reaches
the range of a symphony, as announced by the first wide movement and strengthened by the
wonderful Trio, piece of rare depth; the slow movement arises from the contrast of two different
thematic sections: the first segment is quiet and peaceful while the other is nervous and
intense. The Quintet was published several years after Schubert’s death.
Between 1784 and 1786 Mozart wrote twelve piano concertos: the persistence on this music
genre and on this instrument reveals that the composer had found a special way to express himself;
the great series of works ends with the Concerto No. 25, K503. Unlike some other concerts,
it shows a remarkable symphonic characteristic, that can be noticed since the first bars, majestically
stressed by all instruments; so, it is closed to Prague Symphony K 504 not only because it
was composed in the same years, but for the importance given to the orchestra: this is no more
the background on which the soloist displays his outstanding virtuosity but it plays a leading
role in the work. In the final Rondo Mozart uses a theme taken from a gavotte of the ballet music
for Idomeneo, written in 1781, and he generates a movement based on the alternation of the
piano and sections of the orchestra, such as winds, creating a very close dialog.
Andrea Scarpari

András SCHIFF piano and conductor
Born in Budapest in 1953, András Schiff studied the piano from the age of five with E. Vadász
and continued at the “Ferenc Liszt Academy” with professors Kadosa, Kurtág, and Rados,
and then in London with G. Malcolm. He participates in the most important piano festivals
and plays concerts and recitals in all the music capitals of the world, with programmes which
range from Bach, Haydn, Mozart, Schubert to Bartók. Enthusiastic about chamber music
since his childhood, he has been artistic director and founder, since 1989 of music festivals
such as the “Musiktage di Mondsee”, near Salzburg, “Pfingstkonzerte” in the charterhouse at
Ittingen and “Omaggio a Palladio” at the Teatro Olimpico in Vicenza. In 1999 he founded his
own chamber orchestra, the Cappella Andrea Barca. As conductor he has interpreted a great
range of works such as Bach’s Saint Matthew Passion, Mozart’s Così Fan Tutte and his Requiem
all of which he has performed also in Vicenza, the city with which Schiff enjoys a particular
relationship. From 2004 to 2007 he was Artist in Residence at the Weimar Festival. In the
2007 - 2008 season he was pianist in residence with the Berlin Philharmonic. Schiff has been
awarded a number of international prizes amongst the most recent of which was that of the
Ruhr Piano Festival in June 2009. In 2006 he became an Honorary Member of the Beethovenhaus
in Bonn; in 2007 he received the Franco Abbiati music critics prize and the Bach prize
of the Royal Academy of Music, while in 2008 he received a medal of appreciation from the
Wigmore Hall for 30 years of appearances at that prestigious venue.
During 2006, with the publisher, Henle, he began an important Mozart project: in the course
of the next years they will publish an edition of the Mozart piano concertos in their original
version with fingerings and the missing cadenzas revised by Maestro Schiff. Moreover, in 2007
Henle published both volumes of Bach’s Well Tempered Clavier with fingerings by András Schiff.
He is an Honorary Professor at the schools of music of Budapest, Detmold and Munich and a
Fellow of Balliol College, (Oxford, UK).
CAPPELLA ANDREA BARCA orchestra
Most of the musicians of the Cappella Andrea Barca are active soloists and chamber musicians
all over the world and they are not tied to a particular orchestra. They were personally
chosen by András Schiff in order to perform the complete Mozart piano concertos, on the occasion
of Mozart weeks in Salzburg from 1999 to 2005. Since then the Cappella Andrea Barca
has been a regular guest during the Mozart week in Salzburg. This orchestra, conducted by
A. Schiff, has increased its concert activity: since 1990 it has been a regular guest at the music
festival “Homage to Palladio”, at the Teatro Olimpico, in Vicenza. Here, in 2001 the orchestra
performed three concert performances of Mozart’s opera Così fan tutte. Moreover, from 2004
to 2007, it gave performances at the Kunstfest in Weimer and toured the major metropolises
of Europe like Vienna, Zurich, Basel, Essen, Athens, Brussels and Budapest. On the occasion
of the Mozart year in 2006, the Cappella Andrea Barca went on tour to the USA twice, where
it gave three concerts, both at the Carnegie Hall and at the Avery Fisher Hall in New York,
and at the Kennedy Center in Washington. In the same year the Cappella Andrea Barca performed
at the Festival in Lucerne and in 2008 at the Beethovenfest in Bonn.
András Schiff aims to present the musicians of the Cappella Andrea Barca both as soloists
and as chamber musicians, an original solution which cannot be commonly accepted in permanent
orchestras: “My function as a conductor is to enlarge the concept of chamber music: the
Cappella Andrea Barca is therefore an orchestral ensemble which consists of excellent soloists,
who are, above all, chamber musicians. In this orchestra there are many string quartet performers
and playing in a string quartet ,with regard to “making music”, is of the utmost importance”.
In addition, according to Schiff the human and personal factor is highly important: “Here, in
this orchestra, there is no place for selfishness. This orchestra is characterized by mutual understanding,
sympathetic attitude and harmony and the same aesthetic, musical and human ideals
are shared.”
Meike LELUSCHKO soprano
Meike Leluschko was born in Lingen/Ems, receiving clarinet, piano and organ lessons from
an early age. Among her most important teachers are Edeltraud Blanke, Caroline Stein and
Gerhild Romberger. She is a scholar of the Werner Richard – Dr. Carl Dörken Foundation, the
Mozart Society and the Bertelsmann Foundation.
She has given concerts with La Stravaganza Köln, Bach-Collegium Stuttgart, the Baroque
Orchestra L’Arco Hannover, the Bochumer Symphoniker, the Neue Philharmonie Westfalen,
the Neumeyer Consort, the Nordwestdeutsche Philharmonie, the Sinfonietta Köln and the
Philharmonie Südwestfalen.
Meike Leluschko gave solo concerts (Mozart, Salieri, Händel) at the Konzerthaus Dortmund
and in Stuttgart with the Stuttgart Chamber Orchestra conducted by Michael Hofstetter:
“Mozart’s aria ‘Ruhe sanft’ was a real listening pleasure with these artists” (WAZ, 04/09), in
Rome and at the Augsburg Mozartfest with the Accademia per Musica Roma (with Christoph
Timpe), and on several occasions with the Sinfonietta Köln.
Britta SCHWARZ alto
She was born in Neubrandenburg. She first studied singing with Christa Niko at the Hochschule
für Musik in Berlin. She then went on to study with Prof. Ch.Elßner and Prof. H. Zabel
in Dresden, after which she was engaged for four years to sing at the Studio of the Staatsoper
Dresden (Semperoper). She has won several prizes at different international competitions, so in
Karlovy Vary (Czech Republic), in Zwickau (Germany) and in London (Great Britain). She has
very successfully exploited her extensive repertoire in numerous concerts with renowned european
orchestra. An important factor in these triumphs has been her talent for working with
celebrated conductors like M. Janowski, M. Horvat, K. Nagano, M. Plasson, P. Herreweghe, H.
Rilling, B. Weil, P. Schreier, G. Dudamel and J. P. Weigle. Britta Schwarz has a marked preference
for Romantic Lieder. With the pianist Camillo Radicke she has taken concerts and lieder recitals
in the most European countries, as well as in Canada, Japan and the USA. She took part to the
most important international festivals. In 2001 was published her first Solo-CD with baroque
cantatas for voice and basso continuo at the label berlin classics. For several years Britta Schwarz
has teached at the Hochschule für Musik “Carl Maria von Weber” in Dresden. Among others
she conducts the course for oratorio interpretation. In April 2010 she was appointed visiting
professor of classical singing at Hochschule für Musik “Hanns Eisler” in Berlin.
Werner GÜRA tenor
Born in Munich, received his musical training at the Mozarteum in Salzburg and completed
his vocal studies with Professor Kurt Widmer. Furthermore he was coached by Nicolai Gedda
and Professor Margreet Honig. After guesting at the opera houses of Frankfurt and Basel
he joined in 1995 the ensemble of the Semperoper Dresden, where he sang in many Mozart
parts. In 1998 Daniel Barenboim invited him to the Staatsoper Berlin in different opera
productions. Güra is also much appreciated as Lied interpreter and gives recitals amongst
others in the London Wigmore Hall, Amsterdam Concertgebouw, Lincoln Center New York,
Musikverein Wien, at the Schubertiade Schwarzenberg. In autumn 2000 appeared Werner Güra’s

first solo recording for Harmonia Mundi: Schubert – Die Schöne Müllerin, to be followed by
Schumann: Dichterliebe, Liederkreis and Hugo Wolf ’s Mörike Lieder, all with pianist Jan Schultsz.
Latest releases, also by Harmonia Mundi and with pianist Christoph Berner, are Schöne Wiege
Meiner Leiden, featuring songs by Clara & Robert Schumann and Johannes Brahms, Schubert’s
Schwanengesang, Winterreise, and Mozart Lieder. All these solo CDs received the Diapason d’Or
and were elected Editor’s Choice in Gramophone.
Antonio ROCCHINO tenor
Born in Naples, in 1970, Antonio Rocchino developed his artistic career in many Italian Theatres,
including Teatro Verdi in Trieste, Teatro Comunale in Bologna, Teatro San Carlo in Naples and
Teatro Comunale in Florence, taking part, as a soloist, to important productions of masterpieces
of the symphonic and choral repertoire of Classical and Romantic music: Mozart’s Coronation
Mass, Fidelio and Choral Fantasy by Beethoven, Schumann’s Mass op.147. He sings now in the
Choir of the Accademia Nazionale di Santa Cecilia, in Rome.
Andreas WOLF bass
He received his first musical education at the school for music Wernigerode where, between
1994 and 2002, he has been a member of the choir of the Radio. In 2002 he received a scholarship
of the University of Music of Detmold with Professor H. Eckels. His repertoire includes
vocal works by J. S. Bach, Handel’s Messiah and Jephtha, the Requiem compositions by Brahms,
Mozart and Fauré as well as a vast variety of Lieder by Schubert, Wolf, Brahms, Schumann and
Mozart. He has worked with renowned conductors like H. C. Rademann, A. Cremonesi and F.
Bernius. In 2007 Andreas Wolf has been invited to the Opera Festival Aix-en- Provence, where
he appeared in Monteverdi’s Orfeo conducted by René Jacobs and in 2008 he gave his debut in
the role of Nanni in Haydn’s L’infedeltà delusa, conducted by J. Rohrer, achieving a great success
among the audience and critics. Recently he participated in several projects with A. Spering
and Cappella Augustina. W. Christie chosed Andreas Wolf, among thousands of young singers,
to take part in Le Jardin des Voix 2009, performing with Les Arts Florissants in some of the
most prestigious concert halls in the world. His plans for the present and the future include the
Brockes Passion by Handel and other works by Bach under the conduction of Peter Neumann
and the role of Guglielmo in Così Fan Tutte in Toulon; he will also sing Mozart’s Requiem in
Athens and Così Fan Tutte in Bremen.
Francesco ERLE choirmaster
Born in Vicenza in 1962, he completed his piano studies with E. Mabilia e G. Gorini, and he
studied composition at the same time with W. Dalla Vecchia and B. Coltro. In the following years
he started a research aimed to develop a personal language and expression form. This activity
was coupled whit that of master of the choir, conductor and musical reviser, mostly for his Schola
San Rocco, which allowed him to work with composers and internationally known soloists such
as Ennio Morricone and Andràs Schiff. In 2003 Gianfranco de Bosio invited him to take part in
the production “Il Gioco del Palazzo”, a show promoted by CISA and written by Howard Burns,
based on Palladio’s life. In 2005 the institution of Teatro Stabile del Veneto asked him to write a
new performance: the chosen subject is “Odisseo”, in which he created an alternation between the
narrating voices of U. Pagliai and P. Gassman and arias and lyric scenes, with innovative solutions
that obtained a great success, also among critics. In 2007 the Teatro Stabile del Veneto invited him
to compose incidental music for “Elettra” by Sofocle.
SCHOLA SAN ROCCO choir
Founded in 1993 by young musicians and enthusiastic friends, the “Schola San Rocco” counts
a great number of important collaborations with composer who dedicated their work to the
ensemble (Morricone, Bonato, Priori, Valtinoni), conductors (Muus, Spierer, Andretta, Rigon),
soloists (Schiff, Brunello, Bertagnolli, Pirgu, Nakajima), directors (De Bosio, Mentha, De Fusco,
Michieletto, Gandini, Cuppone, Patarino), orchestras (Cappella Andrea Barca, Accademia di
San Rocco, Orchestra del Teatro Olimpico, I Solisti dell’Olimpico, Filarmonia Veneta, Orchestra
Monteverdi, Archicembalo Ensemble). In 2003 the ensemble sang for A. Pärt, who congratulated
them with emotion. In 2003 the “Schola” recorded the music for “Il Gioco del Palazzo”, on
text by Howard Burns and directed by de Bosio. After an audition in 2000 with A. Schiff, and
after his “Così fan tutte” with the Cappella Andrea Barca in 2001, with Harteros, Groop, Rey,
Odinius, Ulivieri and Panerai, the choir sang again in 2003 with Maestro Schiff in Beethoven’s
Choral Fantasy, and the following year Mozart arias. In December 2007 all the choir took part in
a brief but highly successful tour again with A. Schiff and the Streicher Akademie Bozen.
Erich HÖBARTH violin
Born in Vienna, he studied with G. Biedermann and F. Samohyl and at Salzburg with Sàndor
Végh whose Quartet he entered in 1977 and to whom he was assistant. In 1980 he became first
violin in the Vienna Symphony Orchestra and immediately afterwards first violin and soloist in
the Concentus Musicus of Vienna under the direction of Harnoncourt.
Founder of the Vienna String Sextet and the Mosaïques Quartet, he plays as soloist with the
Camerata Academica Salzburg, the Vienna Chamber Orchestra, the Chapelle Royal Paris, the
Baltic Philharmonic, the Vienna Radio Symphony Orchestra, with the Vienna Symphony and
the Bern Camerata of which he has been artistic director since 2000. He plays also with A. Schiff,
S. Meyer and E. Leonskaja in chamber ensembles. He teaches chamber music at the music
academy of Vienna.
Yuuko SHIOKAWA violin
Born in Tokyo, she began violin studies at the age of five. In 1957 her family emigrated to Peru,
where she studied with E. Cremer and began to give concerts. In 1963, she attended master classes
with Stross Wilhelm in Munich and in 1968 with S. Végh in Salzburg. At the age of 19 she was
awarded the Preis der Deutschen Musikhochschulen and the Mendelssohn Prize. In 1963 she
began her professional career playing with the Bavarian Radio Symphony Orchestra directed by
R. Kubelík and the Berlin Philharmonic with H. von Karajan. Since then she has been playing
with the principal orchestras of Europe, the United States, Japan and Israel. She has been intensely
involved in chamber music particularly with her husband, András Schiff, and has made numerous
recordings including the sonatas of Mozart and the sonatas and partitas of Bach.
Kathrin RABUS violin
She studied in Basel with S. Zöldy, in Tel Aviv with P. Bondarenko and in New York with the
renowned violin pedagogue D. DeLay and had masterclasses with H. Szeryng, N. Milstein and
G. Kremer. She was winner of the German Younger Soloists Podium Award in 1979 as well as of
the International Tibor Varga Violin Competition in 1987. She is First Concertmaster of the NDR
Radio Philharmonic Orchestra since 1988 – as first woman in such a position in a German Radio
Orchestra. She has made numerous CD recordings, i.e. as chamber music partner of G. Kremer
(Philips: Haydn, “The Seven Last Words” and Schnittke: Piano Quintett) and was honoured in

1999 with the famous ECHO Classic Prize in the category “Chamber Music”. The same year she
became violinist of the Kandinsky String Trio. She has a special interest in contemporary music.
Georg EGGER violin
He studied at the Conservatory “C. Monteverdi” with G. Carpi. He continued his studies with S.
Végh in Düsseldorf. From 1975 to 1985 is first violin of “Württembergisches Kammerorchester
Heilbronn”, with which he performs as a soloist throughout Europe, Japan, America, Russia and
Canada. He counts a great number of important collaborations with M. André, E. Brunner, H.
Holliger, E. Mathis, S. and W. Meyer, A. Nicolet, J. P. Rampal, A. Schiff, T. Zimmermann. Since
1985 he has been teaching violin at the Conservatory “C. Monteverdi” and also taking several
masterclasses by the “Bachakademie” in Stuttgart. He took part to the complete recording of the
work of Bach and his execution of Sonatas for Violin and Basso Continuo were particularly successful.
Since 1987 he has been playing with Accademia d ‘Archi di Bolzano. In 1998 he joined
the Cappella Andrea Barca, invited by A. Schiff.
Hariolf SCHLICHTIG viola
Chamber musician, soloist and teacher, Schlichtig was born in 1950 at Tuttlingen. He studied
with M. Rostal, and S. Végh and was a member of the Cherubini Quartet for 19 years. With
them he won numerous international competitions. He has played in the most prestigious concert
halls and festivals throughout the world and recorded numerous important CDs. As a soloist
he has played with the Cologne Philharmonic, at the Herkulessaal in Munich, the conservatory
at Brussels, the May Festival at Wiesbaden, the Beethoven Festival at Bonn, and under the
direction of András Schiff, at the ‘Omaggio a Palladio’ festival in Vicenza, at Basel and in 2006 at
Zürich and Carnegie Hall, New York. He has collaborated with artists such as A. Schiff, T. Zimmermann,
H. Holliger, L. Kavakos and the Alban Berg Quartet. Among his numerous recordings
are concerts with Stamitz, Hoffmeister and Zelter, and the Chamber Orchestra of Munich.
As professor of viola and chamber music at the Academy of Music and Theatre in Munich since
1987, he holds master classes at international level, and the young participants often win prestigious
awards.
Anita MITTERER viola
Born in Osttirol, Anita Mitterer studied with Jürgen Geise in Salzburg, Antonin Moravec in
Prague and Thomas Christian in Vienna. Since 1987 she has been performing with Quatuor
Mosaïques (Erich Höbarth, Andrea Bischof e Christophe Coin) all over the world. She was director
of the Baroque Ensemble of Salzburg and is permanent member of the Concentus Musicus
in Vienna. She also teaches (violin and viola) at the Mozarteum in Salzburg.
Jean SULEM viola
He was born in 1959 and studied with S. Callot at the Conservatoire in Paris. He was appointed
by P. Boulez to soloviolist in the Ensemble Intercontemporain. Jean Sulem is a outstanding solist
in the modern music field, and many composers dedicated works to him. In 1981 he was founder
of the Rosamonde Quartet and since then has been performing in many international festivals
in Europe, Russia, America and Australia. In 1989 he became Professor at the Conservatoire
in Paris. Jean Sulem gives numerous masterclasses in Europe and America and is invited as a
jury member for international competitions.
Christoph RICHTER cello
He is one of the most sought after musicians in Europe, regularly performing with artists such
as A. Schiff, H. Holliger, I. Faust, A. Lonquich and many others. After his studies with A. Navarra
and P. Fournier he won prizes at international competitions, and now plays as soloist with
many leading orchestras, most recently playing the Schumann concerto in the Musikverein in
Vienna. He is frequently invited to international festivals, including Salzburg where he premiered
a work for cello and orchestra by Henze. His strong interest in contemporary music
has led him to work with composers such as Holliger, Kurtág, Lachenmann, Henze, Reimann,
Penderecki und Widmann. It was his close collaboration with S. Végh which led him to a
life long passion for chamber music, and particularly string quartet. He joined the Cherubini
Quartet with whom he performed in all the major concert halls around the world. Amongst
his many recordings are works by Schumann and Holliger for ECM, concertos by Klengel for
cpo, the Brahms Sextet op. 36 for Harmonia Mundi, which recently received the Diapason
d’Or. Richter is professor of cello at the Folkwang University in Essen (Germany) and teaches
chamber music at the European Chamber Music Academy, Chamber Studio in London, and
gives regular masterclasses in Austria and Germany. He is frequently invited as a jury member
for international competitions such as the Haydn competition in Vienna, the Joachim competition
in Weimar, the London String Quartet Competition (2009 and 2012) and the Trondheim
Competition in Norway.
Xenia JANKOVIC cello
A pupil of Kalianov and Rostropovich at the Moscow Conservatory, and of Fournier at Geneva
and Navarra at Detmold, she has won numerous first prizes in competitions such as the
“Gaspar Cassado” in Florence in 1981, where she was also awarded the special “Brahms” prize.
She has played with most important European orchestras such as the Philharmonia Orchestra,
the radio orchestras of Berlin and Copenhagen, the RTVE of Madrid, the Orchestra of the
Maggio Musicale and she has held recitals in the principal European cities. Since 1990 she has
been professor of cello and chamber music at the music academy of Detmold.
Rudolf GLEISSNER cello
He studied cello in Nürnberg, Munich and Detmold with André Navarra, Enrico Mainardi
and Pablo Casals. His musical ideas are mainly influenced by his work with Sergiu Celibidache.
Gleissner started his career in 1968 as soloist at Radio-Sinfonieorchester Berlin. Following that
he was First Solo Player at Radio-Sinfonieorchester Stuttgart until Spring 2007. He has done
a lot of concerts as chamber musician and was co-founder of the ‘Stuttgarter Solisten’ in 1970.
Since 1978 he has been a professor at the University of Music and Performing Arts, Stuttgart.
Christian SUTTER double bass
He is principal double bass with the Basel Symphony Orchestra and the Cappella Andrea Barca.
He has worked with the composer György Kurtág, who has written many pieces for double
bass solo for him. He is an active player of chamber music with András Schiff, Heinz Holliger,
and the Panocha Quartet. His interests range from the baroque repertoire to the new frontiers
of contemporary music and he is a co-founder of the “Marcelo Nisinman Trio” (Nuevo Tango
Nuevo). Christian Sutter is called the “poet at the double bass” because of his ability to combine
music and literature, like on his very special and successful solo performance “Romance with
a Double Bass”, based on a novel by Anton Cechov.

Klaus THUNEMANN bassoon
Born in Magdeburg, he studied at the Musikhochschule in Berlin. His first engage took him
to Münster in Westfalen, then since 1978 he has been the first bassoon of the NDR-Sinfonie-
Orchesters in Hamburg. He graduated in the competition “Podium junger Solisten” and “ARD-
Wettbewerb” in Munich. Since 1978 he has been professor at the “Hochschule für Musik und
Theater” in Hannover, and in 1995 he was called at the Musikhochschule “Hanns Eisler” in Berlin.
As a soloist and as a partner in chamber music with the oboist H. Holliger and the pianist A.
Schiff he gives concerts all around the world; he is guest of the most important European Festivals.
A great number of recordings with artists like A. Brendel, G. Kremer, H. Holliger and A.
Schiff, and recordings as a soloist with the “Academy of St. Martin-in-the-Fields” and “I Musici di
Roma” confirms his leading position on the international scene. Since 2008 he has been professor
of bassoon and chamber music at Escuela Superior de Música Reina Sofía in Madrid.
Riccardo CROCILLA clarinet
Born in Palermo, He studied at the Conservatory of Genoa where he graduated with maximum
marks. He continued his studies with G. Garbarino and T. Friedli. He won places as first clarinet
in the symphony and opera orchestras of Cagliari, Genoa, Trieste and Lausanne. Since 1996, has
been first clarinet of the orchestra of the Maggio Musicale Fiorentino directed by Z. Mehta.
He has played with renowned orchestras in Italy and abroad under the batons of the most important
conductors and was awarded the prestigious “Premio Galileo 2000”, for promising young Italian
concert musicians. Crocilla has recorded for the labels, ARTS, Bongiovanni, and Discantica.
Louise PELLERIN oboe
Life chose otherwise for someone who believed she could finish her studies in Europe and then
come home to Québec to get on with other things. In just a few years, she became one of the
great oboists of the world. She is invited in the world’s most prestigious festivals. Solo oboe of
the Camerata Salzburg and Cappella Andrea Barca, Louise Pellerin plays alongside H. Holliger,
A. Schiff, E. Höbarth, L. Kavakos, R. Vlatkovic, D. Varjon, J. Widmann. After receiving two First
Prizes from the Conservatoire de musique de Montréal, she went on to study with H. Holliger in
Freiburg, where she obtained the prestigious soloist diploma with high distinction. A passionate
teacher, is a professor at the Zürich University of Arts and faculty member of the Oxford Academy.
She gives master classes world wide and is invited on juries for international competitions.
Throughout her career, she has been solo oboist with the most prestigious orchestra of the world.
Louise Pellerin has made recordings with Atma, Decca, Denon, DGG, Novalis, Philips, Radio-
Canada,WDR and Arte.
Marie-Luise NEUNECKER horn
She first studied musicology and German literature. Later she studied with the great horn player,
Erich Penzel, in Cologne and between 1979 and 1989 she widened her experience as first horn
player with the Bamberg Orchestra and the Frankfurt Radio Orchestra. She has won numerous
competitions such as the “Musica Tedesca” in Bonn, the ARD in Munich and the Artists’ Guild
of New York, and currently appears regularly in the most important concert venues in Europe,
Japan and the USA. She works with artists such as Frank Peter Zimmermann and Christian Tetzlaff,
Lars Vogt, and the Zehetmair Quartet. György Ligeti wrote his “Hamburg Concerto” for her,
which she played at its world premiere in Japan in January 2001. She has taught at the Frankfurt
Academy of Music and since 2004 has been professor of horn at the Hanns Eisler Academy of
Music in Berlin.
1. violins
Erich Höbarth, Yuuko Shiokawa,
Ulrike-Anima Mathé, Kathrin Rabus,
Georg Egger, Ottavia Egger-Kostner,
Armin Brunner, Erika Tóth, Jiří Panocha
2. violins
Kjell Arne Jørgensen, Stefano Mollo,
Zoltán Tuska, Susanne Mathé, Albor Rosenfeld,
Karin-Regina Florey, Pavel Zejfart, Eva Szábo,
Lyrico Sonnleitner
violas
Hariolf Schlichtig, Jean Sulem, Anita Mitterer,
Michael Hanko, Sándor Papp,
Miroslav Sehnoutka
cellos
Christoph Richter, Rudolf Gleissner,
Xenia Jankovic, Heidi Litschauer,
Jaroslav Kulhan
double basses
Christian Sutter, Brita Bürgschwendtner,
Holger Michalski
sopranos
Alessandra Bertazzo, Cristina Damian,
Elena Piazza, Emanuela Bussolaro, Flavia Morisi,
Giovanna Damian, Giovanna Giuliari,
Giuliana Cappucciati, Giuliana Re, Monica Cerudi,
Nicoletta Possente, Nicoletta Tretto,
Romana Maria Bissoli, Silvia Cazzaro
contraltos
Alice Coppo, Antonella Grando,
Elena Floriani, Elisabetta Cuman, Ilaria Balbo,
Luisa Mogentale, Marina Cecchinato, Marina
Magnabosco, Paola Bolla, Paola Cecchetto,
Raffaela Bellato, Rita Carmignan,
Valentina Ferrarin
CAPPELLA ANDREA BARCA
SOLOISTS
Meike Leluschko soprano
Britta Schwarz alto
Werner Güra tenor
Antonio Rocchino tenor
Andreas Wolf bass
flutes
Wolfgang Breinschmid, Rosemarie Moser
oboes
Louise Pellerin, Laura Urbina
clarinets
Riccardo Crocilla, Toshiko Sakakibara
bassoons
Klaus Thunemann, Claudio Alberti
horns
Marie-Luise Neunecker, Georg Sonnleitner,
Aron Könczei
trumpets
Neil Brough, Simon Gabriel
percussion
Stefan Gawlick
SCHOLA SAN ROCCO
choirmaster
Francesco Erle
trombones
Henri-Michel Garzia, Christoph Weber,
Florian Metzger
tenors
Bruno Tagliaferro, Carlo Timillero,
Davide Pellizzaro, Enrico Arten, Giorgio Erle,
Giovanni Morisi, Giuseppe Conocarpo,
Michele Montemezzo, Mirto Testolin,
Ruggero Battaglia
bass
Federico Timillero, Flavio Fagan, Fulvio Fonzi,
Giuseppe Maderni, Luca Azzolin,
Massimo Bardin, Matteo Rossi, Mauro Ongaro,
Renato De Momi, Renato Girardello
vocalist
Giovanna Damian

main sponsor
partner
PAOLO E FLORENCE
MARZOTTO
supporter
media partner
enti istituzionali
La Società del Quartetto di Vicenza per la XIV edizione
del festival “Omaggio a Palladio” è particolarmente grata a:
Società del Quartetto di Vicenza for the XIV edition
of festival “Omaggio a Palladio” is particularly grateful to:
Freunde und Förderer der
Cappella Andrea Barca e.V.
FONDAZIONE GIUSEPPE ROI
ONLUS
Società del Quartetto di Vicenza
tel. 0444 543729 - info@quartettovicenza.org - www.quartettovicenza.org