In search of a name for a new ensemble performing internationally that puts a great emphasis on clarity, dynamics, colourfulness and the profound message of music we came across Musica Vivax. The numerous meanings of the term perfectly match the ensemble's idea of interpreting music: “the power of music”, “the power in music”, and “the vital energy flowing from music”.
Obviously, music cannot be reinvented, but a number of things can be redefined - and an ensemble pooling the best musicians of the new generation is likely to pave the way for special and new productions. Apart from cultivating the tradition of Harnoncourt in the historic style of performance, they also intend to pursue their own, new courses and to spare no effort to go to the limits of what can be achieved in terms of playing music.
To their advantage, the members of the ensemble work a lot with leading modern symphonic orchestras and distinguished conductors (e.g. Claudio Abbado, Bernard Haitink, Nikolaus Harnoncourt, Trevor Pinnock, Roger Norrington, Thomas Hengelbrock, John Eliot Gardiner) and at the same time have experience with renowned “historic” ensembles (Concentus Musicus Wien, Concerto Köln, Wiener Akademie, Freiburger Barockorchester, Balthasar-Neumann-Ensemble, etc.). As a result, they apply a variety of experience and knowledge in their work and complete it with the joy of making music.
In the first place, they aim at representing pure music, at rendering its clear message without mannerisms by exploiting the full potential of articulation, vibration, emotion and dynamics. They are aware that large entities can only be understood and interpreted by meticulously working out every detail. What is important to them is to produce a vivid, clear and transparent sound that is as close as possible to the composer's text in order to amalgamate his intentions with our emotions in an ideal way.
Of particular interest to them are rarities that are performed infrequently and not only reflect the diversity of the nationalities of our members, but also provide for variety and depth that correspond to their musical and interpreting concepts. Thus, in addition to the “great” composers they would also like to focus on the works of, for example, Georg Muffat and Tomaso Albinoni, or the pieces for choir and orchestra by Dietrich Buxtehude and Vincent Lübeck.
Musical Director: István Bán
Violins: Stephanie Baubin, Zsuzsanna Bolimowsky, Christian Eisenberger, Sophie Gansch, Anne Harvey-Nagl, Markus Hoffmann, Ágnes Kertész, Franz Pobenberger, Éva Posvanecz, Christian Tachezi
Violas: Teresa Nawara, Veronika Körmendy, Dorle Sommer
Violoncellos: Herwig Tachezi, Luis Zorita
Double-basses: Walter Bachkönig, Hermann Eisterer
Oboe: Emma Black
Bassoon: Katalin Sebella
Trumpet: Balázs Winkler
Organ: Péter Kővári