LIPPARELLA was formed in 2008 with the aim of developing a contemporary repertoire for baroque instruments and countertenor. Since then, the ensemble has continuously initiated new collaborations, and there is great interest among composers in exploring the tension between the timbral world of baroque instruments and the musical language rooted in our own time. This summer’s festival constellation – Lipparella trio – features Louise Agnani gamba, Peter Söderberg theorb, oud and lute and Anna Lindal baroque violin.

In recent years, Lipparella has carried out several projects that have focused on the relationship between text, music and space, where new musical works have been staged in an art form between concert and musical drama. In these contexts, Lipparella has collaborated with a number of composers, directors and poets, including composers Kent Olofsson, Lisa Streich, Christofer Elgh, Christer Lindwall, Erik Peters and Madeleine Isaksson, as well as with director Karl Dunér and filmmaker Tomas Boman.

Since 2017, Lipparella has recorded 3 CD albums: Champs d’étoiles with music by Kent Olofsson (2017), Hidden voices with music by Madeleine Isaksson, Christer Lindwall and Crichan Larson (2021) and Chantbook for Lipparella with a portrait of the German composer Walter Zimmermann (2022).

In addition to contemporary music, Lipparella also plays early music in various constellations based on special program ideas and wishes.

House concert

8 august


Pre-booking required

LIPPARELLA | Stradella e futura

About the concert 

Here, there will be a sudden throw of music in the smaller format. The short movements of a Sonata by Alessandro Stradella from the late 17th century are interleaved with pieces from later eras.  

Josef Matthias Hauer’s Atonale Musik was published exactly one hundred years ago. The music is reduced as far as possible, nothing remains here but completely regular interventions with new pitches. In his twelve-tone “games” – Hauer composes these miniatures almost daily for the last two decades – there is a complete liberation from the late Romantic heritage, which makes the music strangely timeless.  

Bruno Maderna’s Pièce pour Ivry is notated in minute detail in seventeen sections on loose leaves. But the form is open; the performer chooses how many and in what order the sheets are played. In this work, the modernist aesthetic associated with Maderna applies, while Serenade für Claudia, composed for his daughter, has a retrospective character.  

Adam Eriksson’s Kackalorum was composed during the academic year 2015-16, when the composition students at KMH Royal Academy of Music in Stockholm wrote new pieces for lute and gamba. The composer describes the music as “something that persistently goes on, something that develops, something that breaks off and something that starts. An attempt to channel an intensity inherent in the material and the instruments”. By switching between earlier and later music in the performance, we hope to open the listening to the uniqueness of the different musical styles, which also enables a deepened experience. 


Alessandro Stradell – Sonata a violino solo e basso [1600-tal]
Josef Matthias Hauer – Atonale Musik Nr. 5 [1922]; Zwölftonspiel 28.8 [1948]
Bruno Maderna – Piéce pour Ivry [1971] – Serenade für Claudia [1968]
Adam Eriksson – Kackalorum [2016]


9 august 

Kalv’s Church

VESPER | Lipparella

About the concert 

Vespers is the Latin name for one of the parts of the liturgy, or the canonical hours, namely the evening prayer. The canonical hours was originally intended to frame the events of the day in the monastic life, to make a life-form of worship. One of the, for us musicians, rare aspects of the vesper is that in its traditional form not only is the prayer in focus, but it is so in sung form. This is how Lipparella writes about their performance of the evening’s vespers: “Also in the musical contributions of Lipparella the voice will appear. Walter Zimmermann, with whom we have had a close collaboration in recent years, has composed several solo works for instrumentalists who sing or recite, here in Swedish, German and Arabic. At Zimmermann’s suggestion, we also play three short solo improvisations to a recording from the 1960s with the Danish poet Inger Christensen, where she performs her own poems with her singing voice. The text reflects the night and man’s vulnerability in existence. By the recently deceased Kaija Saariaho, Anna plays a Nocturne for solo violin. The works by Bruce Mather (theorb) and Kent Olofsson (bass gamba) are composed for Peter and Louise respectively. We have chosen to perform only solo works in this program. Perhaps we will break free from each other even in the spatial location. 

Walter Zimmermann – Gras der Kindheit [2006]; Paraklet [1995]; Från havets bibliotek (2006)  + Tre ”Improvisationer med Inger Christensen”

Bruce Mather – In memoriam Bengt Hambræus [2001]  for teorb

Kent Olofsson – Vocation [2016]  for gamba

Kaija Saariaho – Nocturne [1994]  for violin

In cooperation with  Kindaholm’s parish


13 august 

Kalv’s Church

Lipparella, Mark Tatlow & Emily Pahlawan | …när linjerna inte faller på trevliga ställen…

[concert introduction 11.30 | parish home] 

About the concert 

This program features George Friedrich Händel’s solo cantata “Ah! Che pur tropp è vero” in the center. A cantata from 1709 that here together with ensemble Lipparella and singer Emily Pahlawan is put into new perspectives, surrounded and perforated by music from 1948 to today. The concert is part of conductor and harpsichordist Mark Tatlow’s exploration of the possibilities of baroque opera to tell something to today’s people. This is how Mark himself writes, poetically, about today’s concert based on Handel’s more than 300-year-old cantata: 


“I don’t know why they parted –
but it was planned. 
One day she left, 
and he was left – 
alone. A prisoner of Love,
preventing his love becoming 
a prisoner of war… maybe. 
He swears he will remain faithful. 

The natural world echoes
his lonely lament;
he wanders aimlessly. 
His steps lead him to the ruined walls, 
whose stones, once warmed by the sun, 

now drenched with his tears, 
witnessed his passion. 
He will be faithful, 
although she is gone. 

His grief escapes, unleashing anger. 
He cries out: life is unjust… 
but he knows he is destined to live. 

There is only one way: 
through love seek hope in faith.” 



George Friedrich Händel – Ah! Che per troppo è vero HWV77 [1709]

John Cage – Dream [1948]

Joseph Matthias Hauer – Zwölftonspiel 26.8 [1948]

György Ligeti – Hyllning för hilding Rosenbergs födelsedag [1982]

Peter Ablinger – Ohne titel 1-10 [2005]

Kent Olofsson – Prelude to silence [2016]