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The ensemble Buon Tempo, founded in 1994 by Thomas Schulz, specializes in historical dance and table music from the 15th century to about 1900. What sounds to the layman like harmless and therefore unproblematic utility music is in fact not infrequently a real challenge - but different than expected.
While in the case of table music the notated parts sometimes have to be adapted to the current instrumentation, it is the dance melodies, which are perceived as comparatively simple, that demand full attention. In the vast majority of all dance sources up to the 19th century, the dance masters and publishers handed down only the melody lines for the choreographies they published. If one is not lucky enough to have a melody from an opera whose score is available, the task is to create a movement that takes up the stylistic characteristics of the respective epoch and implements them appropriately for the available instrumentation. Important points of reference for this can be found in the writings of music theory, the understanding of tempo and affect, as well as in the dance practice of the time. It is the concern of Thomas Schulz to prepare and revive the old music in such a way that in the concerts of the Ensemble Buon Tempo historical dance music from the Renaissance, Baroque and Biedermeier periods appears alive and natural.
In close cooperation with the Ensemble Historischer Tanz Berlin (UdK) under the direction of Jutta Voß, the audience is thus offered the opportunity to experience the Ensemble Buon Tempo in themed events as a listener, but also as an active dancer participating in baroque balls.
The Ensemble Buon Tempo has performed many times in Germany: Among others, to guest performances at the Dresden Music Festival, at the Ekhof Festival on the historic stage of Friedenstein Castle in Gotha, in the Liebhabertheater of Kochberg Castle, at the Weber Days in Eutin or in the historic instrument collection of the Museum of Arts and Crafts in Hamburg. The titles recorded here on the CD "Ergötzliches Tantz-Vergnügen" range from the 17th century to the time of Goethe, Beethoven and Schubert around 1820, with the exception of the so-called skating waltz "La Rinka". It is almost 100 years younger.
The sources and collections of publishers and dance masters used come from France, England and the German-speaking countries. They have been arranged by Thomas Schulz for the Ensemble Buon Tempo and are played in the sense of an authentic performance practice with the corresponding instruments of the respective epoch.
