Tabula-Tour Michael Eberth

• Christian Erbach (1568 - 1635): Toccata Tertii Toni:
• 1 Erbach: Toccata Tertii Toni 02:51
• Jan Pierterzoon Sweelinck (1562 - 1621): Erbarm Dich mein o Herre Gott:
• 2 Sweelinck: Erbarm Dich mein o Herre Gott 05:48
• Hans Leo Hassler (1564 - 1612): Versus supra Calicem:
• 3 Hassler: Versus supra Calicem 02:50
• Gregor Aichinger (1564 - 1628): Duo Seraphim:
• 4 Aichinger: Duo Seraphim 03:31
• Anonymus: Fuga a 4:
• 5 Anonymus: Fuga a 4 04:18
• Präludium primo tono:
• 6 Anonymus: Präludium primo tono 02:22
• Cipriano de Rore (1516 - 1565): Anchor che col partire:
• 7 de Rore: Anchor che col partire 03:37
• Johann Staden (1581 - 1634): Toccata:
• 8 Staden: Toccata 01:11
• Staden gagliarda 2:
• 9 Staden: Staden gagliarda 2 01:33
• Staden gagliarda 3:
• 10 Staden: Staden gagliarda 3 01:29
• Aurelio Bonelli: Bonelli Ricerar:
• 11 Bonelli: Bonelli Ricerar 03:33
• Luca Marenzio (1553 - 1599): Zefiro:
• 12 Marenzio: Zefiro 05:31
• Johann Staden: Staden Pavana:
• 13 Staden: Staden Pavana 06:50
• Luca Marenzio: Vienne montan:
• 14 Marenzio: Vienne montan 06:19
• Giorgio Mainerio (1535 - 1582): Ballo Milanese:
• 15 Mainerio: Ballo Milanese 01:10
• Anonymus: Toccata octaui toni:
• 16 Anonymus: Toccata octaui toni 04:13
• Giovanni Gabrieli (1557 - 1612): Alleluja, quando iam emersit:
• 17 Gabrieli: Alleluja, quando iam emersit 03:02
• Hans Leo Hassler: Ricerar del secondo tono:
• 18 Hassler: Ricerar del secondo tono 10:56
• Total Runtime 01:11:04

Info for Tabula-Tour

With this "colourful" selection of pieces, we intend to give an impression of the diverse repertoire collected in the Turin Tablature. The motets and liturgical works were most likely intended for performance in church, whereas dances and madrigals were intended more for secular settings: at festivals, celebrations, and for domestic music-making. Toccatas and ricercars could be played in both ecclesiastical and secular settings. [In light of the wide variety of purposes of this repetoire, we utilized a wide variety of instruments.] Thus, in addition to the Marx-Günzer organ, three other stringed keyboard instruments were used: a clavicytherium in southern German design from the 17th century, a virginal after Michael Praetorius (1619), and a harpsichord of a seventeenthcentury Italian design.

Tanja Vogrin, soprano, harp
Angelika Radowitz,Dulzian
Gerhard Hölzle, Tenor
Michael Eberth, Organ, harpsichord, virginal, clavicitherium

Michael Eberth
After lessons with Karl Maureen and Hedwig Bilgram, Michael Eberth studied with Jean-Claude Zehnder (harpsichord and organ) and Jean Goverts (fortepiano) at the Schola Cantorum Basiliensis. 1984 »Diploma for Early Music« in harpsichord, 1985 in organ. Further studies with Jos van Immerseel, Kenneth Gilbert, Luigi Ferdinando Tagliavini, Harald Vogel, Michael Radulescu, Johann Sonnleitner and Gustav Leonhardt. From 1988 to 2008, he taught harpsichord, chamber music and basso continuo at the Richard Strauss Conservatory in Munich. Concert activity with various soloists and ensembles (Robert Crowe, Joel Frederiksen and Ensemble Phoenix-Munich, Salzburger Hofmusik, Berliner Lauttencompagney, Valer Sabadus, The Bach Ensemble New York).

Concerts in Germany, Italy, Austria, Slovenia, France, Switzerland, South Korea, South Africa, Vietnam and the USA, as well as numerous radio and television productions. From 2004 to 2011, he was privatdozent for harpsichord at the Mozarteum University in Salzburg.

Since 2008, Michael Eberth has taught harpsichord, clavichord, basso continuo, chamber music and notation studies as an honorary professor at the University of Music and Theatre in Munich, where he headed the Institute for Historical Performance Practice from 2016 to 2021. He is chairman of the Forum Alte Musik Augsburg e.V.

Gerhard Hölzle
Born in Kempten in 1960, the lyric tenor was initially a student of Florian Mayr, later of Ingrid Bettag and James Taylor, and most recently studied under Sami Kustaloglu. He performs as a soloist, primarily in southern Germany, with a repertoire focusing on Baroque and Romantic literature. Gerhard Hölzle sings in concerts and performances with professional solo vocal ensembles and choirs in Germany and abroad, with whom he also participates in radio and CD productions. Together with Marcus Schmidl, he directs the professional ensemble Cantus München (www.cantusmünchen.de), which is dedicated to Renaissance music in the German-speaking world, but also to music of Christian-Jewish dialogue. The Cantvs München Foundation supports the ensemble in its work.

Angelika Radowitz
born in Krumbach, Swabia, studied oboe at the Leopold Mozart Conservatory in Augsburg with Georg Fischer and privately with Gerhard Veith, as well as recorder with Hermann Elsner and Christian Ohlenroth at the Richard Strauss Conservatory in Munich. Scholarship from the City of Augsburg. Teaching diploma in oboe and recorder. Diploma in Baroque oboe with Hans-Peter Westermann at the Academy of Early Music in Bremen. Dulcian studies with Bernhard Junghänel. Courses and seminars with Ku Ebbinge, Alfredo Bernardini, Paul Goodwin, Han Tol, Gabriel Garrido and Michael McCraw. Regular collaboration with various Baroque orchestras (Salzburger Hofmusik, La Banda Augsburg, Leipziger Barockorchester, Kölner Barockorchester) as well as CD productions and radio recordings in Europe (Poland, Sweden, Portugal). 1999 to 2001 Postgraduate studies in the master class with Katharina Arfken at the Schola Cantorum Basiliensis. Since spring 2002, she has led the Augsburg Wind Trio and Wind Quintet. Angelika Radowitz taught at the University of Augsburg from 1992 to 2014, lectured at the municipal singing and music school in Munich. In 2008, she founded the dulcian ensemble Dulcisonantes-die Stadtpfeifer. She currently researches and performs 17th/18th-century music for oboe ensembles. Since 2006, she has been a member of the organising team of FAMA e.V., the Forum for Early Music in Augsburg.

Tanja Vogrin
Slovene mezzo-soprano and harpist Tanja Vogrin studied singing (D. Simonović, J. Korat, A. Zeller, J. Borowska-Isser) and classical harp (D. Bernatović, E. Hoffellner, A. Clark, A. Pollóny) in Slovenia and Austria. Her interest in early music led her to Basel, where she completed master's programs in historical harp (H. Rosenzweig), medieval vocal studies (K. Dineen), and AVES - Advanced Vocal Ensemble Studies (A. Rooley and E. Tubb) at the Schola Cantorum Basiliensis.

Her specialty is historically informed performance practice of self-accompaniment, particularly early 17th-century monody. She maintains a full performance schedule, not only as a soloist but also thanks to her collaborations with various ensembles throughout Europe.

Last but not least, Tanja Vogrin teaches baroque singing and baroque harp in the Early Music Department at the Johann Joseph Fux Conservatory, as well as being a lecturer for vocal ensemble and historical singing at Institute 15 at the University of Music and Performing Arts in Graz.

Gerhard Hölzle
Born in Kempten in 1960, the lyric tenor was initially a student of Florian Mayr, later of Ingrid Bettag and James Taylor, and was taught by Sami Kustaloglu until 2013. His solo performances, primarily in Baroque and Romantic works, have so far taken place primarily in Bavaria. Gerhard Hölzle sings in professional ensembles such as Stimmwerck (www.stimmwerck.de), the Bavarian Radio Choir, the Vokalwerk Nürnberg, and the Balthasar Neumann Choir. With these and occasionally other ensembles, he has toured Germany and abroad, participating in concerts, performances, and radio and CD productions.

A trained humanities scholar (history, German studies), he writes essays for academic publications and broadcasts for Bavarian Radio. His most recent publications include an essay on the 100th anniversary of the Reformation in 1617 in the Allgäu region and an article on the library tour of the Berlin Enlightenment figure Friedrich Nicolai in Bavaria. The intensive study of the early modern period, the Baroque period and National Socialism repeatedly flows into the design of concert programs, including introductory texts.

This album contains no booklet.