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HISTORY OF THE ENSEMBLE
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Their initiation has become more and more serious though years. Naturally, they had to study a lot and carry on research work as well. They have got copies of original instruments by the help of their sponsors. Their rehearsal were held more regularly and more and more publicity was given to their concerts. The Ensemble gives yearly 20 concerts. Among them the most important ones were: concerts in 1984, 1985, during the Early Music Festival in Mih�lyi and concerts given in the so-called Pannonian Programme, in Hark�ny, Esztergom, Mih�lyi.
After the 1984�s Early Music Festival in Mih�lyi the Ensemble has become famous throughout Hungary. The heart of the Ensemble is the recorder-quintet, which gives with its tenor and contrabass instruments a special, new sound. Some string instruments, harpsichord, lute, percussion instruments complete the recorder-quintet and they also use some curios instruments: cortholt, rauschpfeife, cromone, cornamus etc. The repertoire consist of mainly English, Italian, Spanish and Netherlandish dance music.
They play in colorful scoring of composition by Susato, Phalese, Praetorius, Holborne, Brade etc. They undertake the task of performing early Hungarian music as well.
Thew Ensemble play cordially baroque triosonata, other early Baroque and Renaissance chamber pieces. In their interpretation they revive the everyday�s performing practice of the above-mentioned periods: improvisation and the rich figuration-technique.
The Ensemble publish regularly articles, little brochures for publicising the early music, for explaining its performing. In these brochures one can find interviews with artists, performers and experts of early music.
The Ensemble has given several concerts in abroad: in Poland, Italy, Austria, Germany, Czech Republic, Romania and has taken part in some television programmes and records.
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COMMENT TO EARLY MUSIC
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�We were always interested in that field of music history which is almost unknown for us, and for the public, as well. In our days audience knows better the classical music, therefore our intention is to discover early music together with the audience because they cannot imagine, how colorful, exciting and substantial it is. At that time musicians were not tied: usually they knew very well the most popular pieces, and the composers left them to play the pieces in that instrumentation in which they would have liked. This freedom of performance is in our days still drawing. Naturally, it goes along with some kind of restriction while you must know the performing practice of musical period as best one can. We would like to change the �prosaic pages of music history� into a �live musical experience� and to show, that many centuries ago what kind of human feelings the well known and unknown masters had. We would like to show also, that this music, this art is as eternally human, as the music of our days.�
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