Edicson Ruiz is again braking the frontier of the Viennese bass repertoire and its perception, as not only will we witness here one of the most successful Sperger concertos, but also the three modern works written for the same setup and all commissioned by soloist for this occasion. One certainly will be able to compare on the spot how well the old technique meets the repertoire of our age, and all within the walls of one of the most prestigious music institutions in the world.

The concert will be preceded by the Introductory presentation at 7:00 pm. Please attend if you can as it certainly will be fascinating to witness so much diverse repertoire (including the other chamber performances) on one evening.

Yet another nice surprise will be awaiting the visitors of this concert as Farley will feature the US and most likely the modern world premiere of Sperger's concerto no 17 in the original tuning! The accompaniment setup for this event will be modest, but completely in the spirit of Sperger's own concerto chamber performances, which often took place in smaller rooms of the Ludwigslust castle. For this concerto performance Farley will use the "Saier and Hug" parts in D. The concerto originated in November of 1805, which, if we look at the time reference of Beethoven's works, is just a year after he wrote his Eroica Symphony (no. 3) in 1804.

A truly wonderful lunchtime "divertisment" that actually follows quite accurately the period approach to listening such a music. We witness here both the introspective and enlightening moments in the same way those would have been experienced in the casual atmosphere of the Bratislava 18th century court, except that this time they serve those who need a little lunch-time-break in downtown San Francisco. Farley's delightful playing could not be more fitting for the promotion of our noble tradition in that regard. Congratulations to Farley and best wishes in enlightening our modern "lunch-break nobles" for many more concerts to come.

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A superb performances of Vanhal and Dittersdorf classics and a perfect example of what the Viennese technique can offer in the hands of a contemporary virtuoso. Bravo to Rinat and sincere wishes for more of such projects!

The first modern performance of Hoffmeister concerto no. 2 in Viennese tuning, executed for this concert in E flat setup for the sake of convenience.

Yet another entertaining visit of Herr. Pischelberger to our time. Please watch for the story carefully!

This is probably the first original performance of "Per Questa" in New Zealand. Congratulations to Darija!

Oscher was a World premiere.

This was a simple lunch time event at the Auckland University School of Music. In the spirit of time James Tibbles (harpsichord) has improvised the accompaniment on few occasions to the delight of everyone.

This is the premiere performance of Capuzzi, Vanhal and Sperger Concertos, in E flat variant, for the first time in the USA. While the Capuzzi concerto was originally conceived for D setup (not E flat variant), for the sake of utility (not having to retune the instrument in the middle of performance) it was performed on E flat setup as well. Moreover, the whole Capuzzi concerto was performed in Factor Reale style - an octave higher.

The Vanhal Concerto was performed in E flat setup, utilizing a transcription of piano score to E flat major, and being performed directly from the solo part facsimile of the Klaus Trumpf's Vanhal edition.

The Sperger no. 18 concerto was performed from the piano edition made directly from the score manuscript copy obtained from the Landesbibliothek Schwerin. The solo part in all three concertos was performed directly from the copies of the original manuscript solo parts.

This concert has been realized in conjunction with the Musicology Lecture Series of the Cornell University, Department of Music. A fortepiano from the Cornell collection tuned at the lower period pitch was used for this occasion. Although the bass was set with the steel strings, the fortepiano has offered both an excellent timbral compatibility and a very comfortable performance on the lower tension strings. 

This performance has been realized in within the Eastman Musicology Symposium at the Rochester University. After the performance a diverse discussion has developed with musicoloogists, icluding late Dr. Alred Mann, Dr. Gretchen Wheelock and Dr. Virginia Newes. This discussion may put light to most usual questions interested musicians and scholars woud have in regard to the subject of Viennese bass.  

This concert was made possible through the generous assistance of the Austrian Consualte In New York City, and Prof. Alfred Planyavsky of Vienna. The date of the concert was planned to coincide with the guest appearance of the Vienna Philharmonic in Carnegie Hall, so that the Philharmonic musicians coul attend the concert as well. The reception that followed has offered a fine atmosphere for New York and Viennese bassists to meet and socialize. The Viennese tuning had its solo moment, along with the true successors of the Viennese tradition on their original Viennese basses some days later in the Carnegie Hall.