Dresden’s image as the fosterer of a musical golden age during the 18th century is assured, today more than ever, thanks to the almost perfect preservation of the music of that period. So far as the 17th century is concerned, however, the picture is much bleaker: the bombardment of the town by Friedrich II of Brandenburg- Prussia (during the Seven Years’ War in 1760), destroyed not only the residence of Johann Adolf Hasse (whom Friedrich admired passionately), along with the engravings for the planned complete edition of his works by the Leipzig publisher Breitkopf, but also the archive in which a selection of the music of the court chapel was stored.
Jed Wentz began his career as a virtuoso flutist but gradually turned to conducting. He founded the early music ensemble Musica ad Rhenum (Music on the Rhine) and has appeared as soloist or conductor with them in numerous concerts throughout the world. Wentz has hardly abandoned the flute though or its early music counterparts like the traverso but he has, since the 1990s, focused more on the conducting side of his career and devoted much time as well to the understanding and implementation of historically informed music practices.
Hungarian-born Sándor Veress (1907-1992) is a sadly neglected figure in modern music. Despite his pupilage under Bela Bartók and Zoltán Kodály, and even his succession over the latter as professor of composition at the Budapest School of Music in 1943, Veress has never attained the same international recognition as his two most successful compatriots. One might blame his preference for solitude or his idiomatic methodology for keeping him in obscurity. Yet as one who made the most of his outlier status and ideological exile, he seems never to have been one to wallow in self-pity. Exposed to much of the folk music that also captivated his mentors, Veress nurtured that same spirit when sociopolitical upheaval exacerbated his emigration to Switzlerland in 1949. Whereas Kodály in particular saw cultural preservation as central to the musical act, Veress saw it as an incision to be teased open and unraveled.