René Clemencic

Biography

“Energetic authenticity” is one commentator’s explanation of René Clemencic’s music performance cosmetic. The Viennese-born recorder participant, composer, instructor, and conductor offers sought this genuine setting of musical manifestation in an incredibly wide variety of musical encounters. Trained like a recorder participant and keyboardist, generating a Ph.D. from Vienna University or college in 1956, Clemencic performs on a number of early flutes, recorders, along with other woodwind devices. As an growth of his instrumental profession, Clemencic offers founded two ensembles for early music in Vienna (a town which, in the 1950s, was broadly known as the world’s capital for historic overall performance): Musica Antiqua in 1958 as well as the Clemencic Consort in 1968. Also a instructor, he is an associate from the Accademia Filharmonica Romana, regularly showing up in Siena to instruct in the Accademia Musicale Chigiana. He maintains a big personal assortment of early musical devices. Clemencic’s personal compositions reveal his performing likes you need to include music for recorders and oratorios in historic dialects (Greek and Hebrew). Clemencic’s catalog of overall performance projects is usually both wide and prolific. At one temporal pole is usually his personal experimental compositions. In the additional, his ensemble the Clemencic Consort has taken to life many major repertories from the high DARK AGES, from your Play of Daniel and Cantigas de Santa Maria to some fiery presentation from the Roman de Fauvel. Extremely regularly, the group explores the usage of improvisation within these repertoires. This enables Clemencic an extremely wealthy, sonic, and performative impact, most notable inside a Spanish-Moorish taste to his interpretation of Troubador lyrics. He in addition has widely documented in the first Netherlandish Renaissance of Dufay, Ockeghem, and Obrecht, and in a multitude of courtly and well-known early dance designs. Finally, Clemencic offers championed several neglected early operatic functions, even producing completely staged variations of functions by Peri, Draghi, Fux, Jean-Jacques Rousseau, as well as the Emperor Leopold I.

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