In only one year we constructed our until this day very successful internet platform. We still count several thousand visitors every month. The reason for this is certainly the very high value of our links, the editions and the essays in the internet academy.<\/p>\n
In spring of 2005 the ensemble Amarcord performed our first slow listening project De plus en plus, based on a mass of Johannes Ockeghem. The concerts took place during the presentation of our foundation in the Anatomiesaal of the Charit\u00e9 in Berlin and during the festival of ancient music in Quedlinburg.<\/p>\n
The foundation funded a presentation of Thilo Krigar’s DNA put into music…<\/p>\n
Since 2005 the foundation sponsors a series of lunch time concerts presenting one composition first explained and then performed once again.<\/p>\n
Performances of this project in Berlin (Heilig-Kreuz-Kirche) and during the A-capella-festival in Leipzig<\/p>\n
The foundation sponsored an interdisciplinary salon with Forum 47 on the topic “banality”.<\/p>\n
This year we concentrated on expanding our internet platform and prepared some projects for 2008.<\/p>\n
We funded a concert for the opening of the exhibition Sebastiano del Piombo in Berlin’s Gem\u00e4ldegalerie, the first of many more close cooperation with Berlin’s leading cultural institutions.<\/p>\n
Concert in cooperation with the Stiftung Schloss Neuhardenberg.<\/p>\n
We funded this unique festival and our second slow listening project was performed by the ensemble Penalosa: Eros et ecclesia based on a mass by Johannes Ockeghem.<\/p>\n
We funded a concert with anonymous works in the rediscovered Musikarchiv in Russia.<\/p>\n
This year we prepared our major project for 2010 and installed the first online editions in the internet Academy.<\/p>\n
On March 27 and 28 our until now biggest project based on a mass of Antoine Brumel was performed during the festival MaerzMusik (Berliner Festspiele), supported by Hauptstadtkulturfonds with 30.000 Euros. This project undelines our interdisciplinary approach and shows how very old music can still have an impact today. The concert was registered by Kulturradio RBB and a film was produced.<\/p>\n
We funded a concert with improvised music “Super librum cantare”.<\/p>\n
There are a lot of new and very important editons plublished online. In a very short time we were able to make available most important sources of secular music which have not been available for decades.
\nAlso, we have installed a player so that it is possible to listen to the music online.<\/p>\n
The biggest project of our foundatione has been performed three times this year:<\/p>\n
September: Festival Les Eph\u00e9m\u00e8res, Rennes
\nNovember: 3rd Renaissance Festival, Reutlingen
\nFestival surround! Concertgebouw Brugge<\/p>\n
Once again we have enlarged our editions online. There is now the major part of the secular repertory of the second half of te 15th century available.
\nMoreover, we have enlarged our library considerably.<\/p>\n
The foundation has ordered a set of three viols in the style of the 15th century by Richard Earle, Basel. The instruments will be lent to interested musicians for concerts and used for our own recording of chansons by Antoine Busnois (Ensemble Leones).<\/p>\n
We will develop a new big project connecting the principles of slow listening to dance. Lully’s opera Acis et Galat\u00e9e will be the basis for a theatrical research of movement, rhythm and expression. Our partners will be Radialsystem V and Institut f\u00fcr Bewegungsforschung of Prof. Brandstetter from FU Berlin. We work on a chamber version to prepare basic elements for this huge project. We are still looking for more partners as the budget with orchestra, dancers and singers will be quite important.<\/p>\n
Unfortunately, our lute maker Richard Earle had to interrupt the work on our instruments due to illness. We will have to postpone this project to 2016.<\/p>\n
The foundation has published a heretofore unknown 6 voice mass of Antoine Brumel. We try to improve the software of the editing program – it’s very hard to find a knew software expert!<\/p>\n
Many more editions, facsimile sources, essays of the founder etc. in our Academy section<\/p>\n
Our fourth project is created during the ION Festival in N\u00fcrnberg.<\/p>\n
The consort is finally complete! The instruments are already borrowed for several concerts. Planning of own concerts for 2018.<\/p>\n
We published the frist editon of the recently discovered Leuven chansonnier with chansons by Ockeghem, Busnois, and 15 unica.<\/p>\n
Our next big project is realized in the former crematorium Wedding, filmed and recorded.<\/p>\n
Cd with this mass, formation of a new ensemble,\u00a0L’Ultima parola<\/em>.<\/p>\n Invitation for festivals in Antwerp and Leipzig.<\/p>\n The corona pandemic forces all project to be postponed to the next years.<\/p>\n Collaboration with Petrucci, we share our edition with this worldwide biggest collection of free editions.<\/p>\n 2021<\/strong><\/p>\n The foundation finances the digitalization of the so called Berlin Chansonnier, an important source of the 15th century.<\/p>\n 2022<\/strong><\/p>\n Tempus fugit\u00a0<\/em>at the festival\u00a0Laus Polyphonia\u00a0<\/em>Antwerp<\/p>\n 2023<\/strong><\/p>\n Concert with the Berlin Chansonnier in Matt\u00e4uskirche Berlin<\/p>\n ReRen Basel also with chansons from the Berlin Chansonnier.<\/p>\n Josquins Unsterblichkeit\u00a0<\/em>in Heiligkreuzkirche Berlin and then in A capella festival Leipzig with the ensemble L’ultima parola.<\/p>\n 2024<\/strong><\/p>\n Crossover Mass in Kirche zum Guten Hirten Berlin, Ensemble Slavic Voices.<\/p>\n Fermata during\u00a0 the festival Art Biesenthal<\/p>\n 2025<\/strong><\/p>\n Antoine and Jaqueline – Chanons by Antoine Busnois in the series\u00a0Titans rising\u00a0<\/em>in Berlin<\/p>\n <\/p>\n <\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":" 2004 Installation of our internet platform In only one year we constructed our until this day very successful internet platform. We still count several thousand visitors every month. The reason […]<\/p>\n","protected":false},"author":1,"featured_media":1580,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-full-template.php","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-241","page","type-page","status-publish","has-post-thumbnail","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.goldbergstiftung.org\/en\/wp-json\/wp\/v2\/pages\/241","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.goldbergstiftung.org\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.goldbergstiftung.org\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.goldbergstiftung.org\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.goldbergstiftung.org\/en\/wp-json\/wp\/v2\/comments?post=241"}],"version-history":[{"count":12,"href":"https:\/\/www.goldbergstiftung.org\/en\/wp-json\/wp\/v2\/pages\/241\/revisions"}],"predecessor-version":[{"id":3231,"href":"https:\/\/www.goldbergstiftung.org\/en\/wp-json\/wp\/v2\/pages\/241\/revisions\/3231"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.goldbergstiftung.org\/en\/wp-json\/wp\/v2\/media\/1580"}],"wp:attachment":[{"href":"https:\/\/www.goldbergstiftung.org\/en\/wp-json\/wp\/v2\/media?parent=241"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}2020<\/h3>\n