VII Early Music Festival

9th and 10th of  July | BAUSKA, Latvia

11 early music events over the course of 2 days

09 July 14.00 – 15.10 | Bauska Castle


For the first time in Latvia, the Early Music Festival “Vivat Curlandia!” will open the outstanding medieval music ensemble EX SILENTIO from Greece. The ensemble’s program “In the fall of the Middle Ages: French tradition and Mediterranean courts” is focusing on the rich secular music of the French tradition between the Ars Nova and the emerging Franco-flemish style, or else linking the 14th with the 15th century. Polyphonic and monophonic pieces by master composers such as Machaut and Du Fay are presented together with rare works from the late medieval Codex of Cyprus (Ms Torino J.II.9) and the Lusignan Court of Nicosia. Last but not least the earlier French-Occitan tradition found in the Kingdom of Thessaloniki (13th c.) is represented by the great Troubadour Raimbaut de Vaqueiras and his crusade song and other chansons.

Program: works by Guillaume de Machaut, Johannes Ciconia, Raimbaut de Vaqueiras, Guillaume Du Fay, chansons from the Codex Torino J.II.9

Irene Bilini – voice & fiddle
Dimitris Kountouras – recorder, traverso & direction
Elektra Miliadou – fiddle 
Flora Papadopoulos – medieval harp

09 July 16.00 – 17.10 | Bauska Castle tower


Thinking about the program of this concert, the Latvian soprano Elīna Šimkus says: “I wanted to reveal the world of ancient English songs of the 16th century.  The solo songs in the program are united not only by the works of composers/contemporaries – John Dowland and Thomas Campion, but also by love in words, sounds and mood. In this program, Campion is also revealed as a poet, whose texts were used in the Masque composed in 1607, revealing the musical vision of 4 composers and celebrating the feast of love – Lord Hayes’ marriage. “Come again, sweet love doth now invite” is probably John Dowland’s best-known song, which best describes the unifying emotional mood of this concert – love. Happy and fulfilled, unhappy and lost. One that lifteth up the wings and inspires, and one that destroys the hearts in the torments of hell.”

Elīna Šimkus (soprano)
Kristīne Stumbure (renaissance traverso)
Mauro Pinciaroli (archlute, Italy)

09 July 18.00 – 19.10 | Bauska Castle


Jau gadu tūkstošiem dziesminieki un dzejnieki apdzied Amora pastrādātās delverības.
Jo, lūk, šis mazais mīlas dievs pārvērš ļaudis līdz nepazīšanai. Viņš atvelk loku, notēmē un raida savu burvju bultu nevainīgajam tieši sirdī. Kam trāpījusi Amora bulta, tas dzied pilnā balsī un dejo ielas vidū. Viņš grib tikai vienu – DZĪVOT ar pilnu krūti! Tāpēc arī vislielākie varoņdarbi tiek izdarīti mīlas ietekmē, un arī lielākās muļķības pastrādātas mīlas ietekmē. Jo tas jau ir Amora nodoms – sajaukt cilvēku prātus un apvienot to sirdis.
Mijoties mūzikai un dzejai, izdzīvosim mīlnieku kaislības. Koncertā lasīsim Dantes, Petrarkas un Šekspīra mīlas dzejas. Skanēs Viljama Bērda, Jāna Pēterszona Svēlinka, Pītera Filipsa un citu renesanses komponistu klavesīna darbi.

“Top ūdens karsts, – ir mīlai tāda vara, 
Bet ūdens mīlu vēsu nepadara.”  

Sigita Pļaviņa (poetry) 
Ivo Martinsons (poetry) 
Gertruda Jerjomenko (harpsichord)

09 July 23.00 – 00.10 | Bauska Castle courtyard


The festival’s night concert by candlelight “A chromatic journey”, performed by the early music ensemble La Camerata Chromatica (France) in the courtyard of Bauska Castle under the summer’s night sky, invites you to enjoy a musical journey through an unknown and breathtaking vocal repertoire: a chromatic music of the 16th and 17th century. From its origins in Greek Antiquity to its blazing apogee in the Baroque period, and through the insane experiments of Italian Renaissance, this program offers the most emblematic pieces of this repertoire, highlighting its major aspects: intense passions, exquisite poetry, and extreme musical experimentations, which all aim to express the emotions of the poem to the fullest.

Program: Michelangelo Rossi, Carlo Gesualdo, Nicola Vicentino, etc.

Benjamin Delale (organ, artistic director)
Gabrielle Varbetian (soprano)
Nicolas Kuntzelmann (countertenor)
Bérénice Brejon de Lavergnée (recorder)
Victoire Fellonneau (recorder)
Pauline Chiama (viola da gamba)

The concert is supported by EEEMERGING+ (Emerging European Ensembles;

10 July 17.00 – 18.10 | Bauska Castle


“Seeing that since the beginning of the world men have been and will be, until the end thereof, bandied about by various shifts of fortune, each shall be holden to tell of those who after being baffled by diverse chances have won at last to a joyful issue beyond their hope.” (G. Boccaccio „Dekameron“)

We are currently living through times of immense change, transformation and uncertainty. As a humanity living in the age of information, us, citizens of the world, can feel the reverberations of the events happening worldwide, as they affect us in many unexpected ways. In times like these we turn to art as our only solace. Music has been perhaps our best tool for resistance & survival, a bright beam of hope amidst the great darkness… We would like to present to you a selection of pieces that reflect these colossal changes through creative expression, stories of survival, love, hope and beyond.

Concert reveals Early Baroque music and starts with “Non So Qual Io Mi Voglia” by Lorenzo da Firenze, a true ars novajewel of Trecento period. Based on a quote from Boccaccio’s “Dekameron”, the singer-narrator poses us with a question: “I don’t know which one I want, Either live or die,<…> Seeing me to be left by you”. Two great composers, who invented the early Sonata was Giovani Battista Fontana (died in Padua during the Plague of 1630) and Marco Uccellini, who developed Sonata further and filled it full of flourishes and unexpected harmonies. The end of the concert speaks about eternity and hope, we end with the prayer. The theme of Johanns Schmelzers sonata No. 3 is related to the old choral “Wer nur den lieben Gott läßt walten” (He who allows dear God to rule him) and the last piece – “Herzlich tut mich verlangen” (I do desire dearly) of Johann Sebastian Bach.

Ūla Kinder (baroque violin, Lithuania, USA)
Vilimas Norkūnas (harpsichord, Lithuania)

10 July 19.00 – 20.10 | Bauska Castle


Following the major schism of religious unity, the arts and music of sixteenth-century Europe experienced a phase of flowering and renewal. With the advent of music publishing, a new genre, the Parisian chanson, a syllabic song in several voices, was born and took root.

In the second half of the century – from the latter – derives a new form of purely instrumental mold, called “canzone da sonare”, which is considered today the ancestor of instrumental forms such as suites and sonatas that will be subsequently developed in the Baroque period. The Brescian Biagio Marini, returning from Venice where he had been violinist and chapel master in the Basilica of San Marco, took on the role of musical director of the Accademia degli Erranti, from 1619 to 1621, bringing with him a new wealth of experience resulting from the encounter with Claudio Monteverdi, Salomone Rossi and Dario Castello. A group of intellectuals and men of letters, the academy was concerned with literary studies, chivalry, swordplay and music. The seat was at the Teatro Grande, a space granted by the Republic of Venice in 1643, shortly after its construction. Among the men of letters who took part were Ottavio Rossi, Pietro Paolo Ormanico, Carlo Francesco Pollarolo, Bartolomeo Dotti. Among the musicians there is also Francesco Corbetta.

Program: Biagio Marini, Girolamo Frescobaldi, Dario Castello, Giovanni Battista Fontana, G. Picchi, Antonio Bertali, Isabella Leonarda, Alessandro Stradella, Arcangelo Corelli, Michele Mascitti.

Gian Andrea Guerra (baroque violin)
Nicola Brovelli (baroque cello)
Mauro Pinciaroli (archlute)
Luigi Accardo (harpsichord & organ)


Have any questions? Please don’t hesitate to contact us: or +371 25714770.
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Please be informaed that photography, video and/or audio recording may be made by the organizer during the events for illustrative artistic purposes and in order to inform the public about the event. These activities are made in accordance with the data processing requirements, without identifying specific persons. The obtained materials can be published and/or broadcast in the media, as well as on social networks on the Internet, etc.