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“LOVE”

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About

„The vocal quar­tet sang with solistic colours and its very uni­fied, balan­ced ensem­ble sound.”

Cà4 – con­so­nanz à 4

They come from the rug­ged Antrim coast, the end­less hori­zons of Eas­tern Fries­land, the pic­tures­que artists vil­la­ge of Worps­we­de and the bar­ren Swa­bi­an Albs. They have appeared in Isra­el, Spain, Ita­ly, Fran­ce, Eng­land, Rus­sia, Croa­tia, Nor­way, Swe­den, Fin­land, Switz­er­land, Aus­tria, Nami­bia, South Afri­ca and throughout Ger­ma­ny. They have per­for­med grand ope­ra, lute songs, con­tem­pora­ry music with exten­ded vocal tech­ni­ques, roman­tic lie­der reci­tals, ear­ly music and music thea­t­re and have per­for­med high mas­ses in gre­at cathe­drals. Some­whe­re along the way they met.

They sing with pas­si­on and as a quar­tet, enjoy the free­dom to sing music that is clo­se to their hearts. With their indi­vi­du­al inter­pre­ta­ti­on, refi­ned in inten­si­ve rehe­ar­sals, they express their dedi­ca­ti­on and devo­ti­on and sha­re it with their audi­ence.

Each mem­ber of the quar­tet brings their own spe­cial ingre­dients, for­med by the influ­ence of many gre­at musi­ci­ans throughout each individual’s pro­fes­sio­nal care­er.

Com­bi­ning this with the various inte­rests and stu­dies- oboe, flu­te, organ, acting and lite­ra­tu­re — pro­vi­des a rich pala­te of expe­ri­ence to draw on when­ta­king a pie­ce apart, the all important crea­ti­ve pro­cess whe­re a fresh approach is sought even for old favou­rites.

They are as at home in reper­toire of the lar­ger cho­ral works of Bruck­ner Liszt, Ver­di or Pou­lenc as with pie­ces writ­ten for four voices.

Once they are immer­sed in a pie­ce, the hours fly by – con­stant­ly on the loo­kout for a new, indi­vi­du­al approach. The inter­pre­ta­ti­on of a pie­ce is in flux; always chan­ging, gro­wing and stay­ing ali­ve. Dyna­mics and tem­po are varied and adap­ted to suit the atmo­s­phe­re and occa­si­on, always in clo­se con­tact with the audi­ence. Having worked and tra­vel­led tog­e­ther for a num­ber of years, they have beco­me well attu­n­ed to each other and work well as a team, which ispar­ti­cu­lar­ly bene­fi­ci­al when sin­ging ora­to­ri­os tog­e­ther.

Wil­trud de Vries, Annet­te Gut­jahr, Bern­hard Schef­fel and All­an Par­kes are their own instru­ment, a uni­fied body of sound made up of four dif­fe­rent cha­rac­ters who com­bi­ned forces with ver­ve and enthu­si­asm to focus on their com­mon goal of per­forming qua­li­ty vocal music with vita­li­ty.

They are con­so­nanz à 4.

 

Pro­grams

Cà4 – „Maria“

The “Maria” pro­gram­me is one of the the quartet´s most suc­cess­ful pro­jec­ts. It focu­ses on com­po­si­ti­ons on the the­me of Mari­an wor­ship and is an inte­gral part of their reper­toire. It was ori­gi­nal­ly desi­gned for a con­cert cele­bra­ting the Assump­ti­on of the Vir­gin Mary in 2008 at the Ein­sie­deln Monas­te­ry of Pil­grimage (Switz­er­land). Encou­ra­ged by the over­whel­ming respon­se, the quar­tet fre­quent­ly repeated the pro­gram­me beco­m­ing immer­sed in the the­me and deve­lo­ping their inter­pre­ta­ti­on and per­for­mance. The pro­gram was given addi­tio­nal refi­ne­ment during the making of the CD Maria in 2013 in the cathe­dral of Keve­la­er in Ger­ma­ny.

It is par­ti­cu­lar­ly fasci­na­ting how dif­fer­ent­ly the indi­vi­du­al com­po­sers trea­ted the sub­ject mat­ter: Stravinsky’s pray­er is simp­le and mat­ter-of-fact, while Poulenc’s set­ting is inti­ma­te and expres­si­ve , Liszt’s pray­er is a rosa­ry las­ting several minu­tes with recur­ring motifs, and Verdi’s work is an enig­ma­tic sca­le har­mo­nis­ed for four mixed voices resul­ting in a com­plex and dra­ma­tic com­po­si­ti­on.

Our Father

Fol­lo­wing their suc­cess­ful Maria Pro­gram­me, con­so­nanz à 4 deve­lo­ped  “Vater Unser” which is  named after the ope­ning words of the Lord’s Pray­er. It explo­res rich and sono­rous spi­ri­tu­al com­po­si­ti­ons that revol­ve around sal­va­ti­on, peace and inti­ma­te pray­er. Da pacem by Pärt, Vater Unser and Psalm 139 by Leh­nen, Letz­te Bit­te by Wolf, Abend­frie­de by Rhein­ber­ger, Chris­tus fac­tus est by Bruck­ner, as well as pie­ces by Par­ry and Men­dels­sohn take the lis­tener on an inward, reflec­tive jour­ney through the warm soun­d­ing, some­ti­mes ten­der, some­ti­mes power­ful moments in the­se sacred com­po­si­ti­ons.

Flo­re­te Flo­res

“Blossom, you flowers, like the lily, emit fra­gran­ce and bring forth lea­ves with grace. Sing tog­e­ther a hymn of prai­se and bless the Lord in all his works” (Jesus Sirach, chap­ter 39, ver­se 19)

Flo­ret flo­res” is the name of the colour­ful and varied a capel­la pro­gram­me with which con­so­nanz à 4 pres­ents a rich cross-sec­tion of their work. It is named after a com­po­si­ti­on of the same name which Elmar Leh­nen wro­te for the quar­tet in 2013. The pro­gram­me inclu­des lively and flu­ent­ly nar­ra­ted images of natu­re, calm and deep pray­ers, catchy melo­dies as well as com­plex har­mo­nies. Work by com­po­sers like Pärt, Elgar, Fin­zi, Dys­on, Men­dels­sohn, Leh­nen, Par­ry or Wolf pro­mi­se a lively and varied con­cert evening.

“A Cap­pel­la sin­ging at such a high level is rare­ly heard. The dia­lo­gue bet­ween the sin­gers is cap­ti­vat­ing in its natu­ral­ness. The ensem­ble shows subt­le­ty and intui­ti­on for the smal­lest chan­ges in dyna­mics, colour and har­mo­ny. The sacred state­ment of faith bey­ond the pure musi­cal text is con­vey­ed with inti­ma­cy, moving each indi­vi­du­al song in its ent­i­re depth. This is trans­mit­ted direc­t­ly to the audi­ence, crea­ting an inten­se bond in the sha­red expe­ri­ence.

Mul­ti­fa­ce­ted in full­ness of tone, warmth and dyna­mics, ‘con­so­nanz à 4’ shows a filigree sound with a spe­cial charm.”

Blech­mann, Ahlen — Review of the con­cert on 7.10.2017

Christ­mas Carols

 

christ­mas carols

christ­mas carols is con­so­nanz à 4’s suc­cess­ful Christ­mas pro­gram, which is also avail­ab­le on CD. A colour­ful com­bi­na­ti­on of cheer­ful and con­tem­pla­ti­ve melo­dies with tra­di­tio­nal old favou­rites and­les­ser well known gems, set in Eng­lish by various com­po­sers. Carols by Charles Wood, Wal­ford Davies and Arthur Sul­li­van among others, have a fresh­ness and cla­ri­ty when sung by the four unac­com­pa­nied voices. Fur­ther high­lights in the pro­gram inclu­de: Vaug­han Williams’s“The Bles­sed Son of God”, “The Crown of Roses” by Tschai­kow­sky, and the atmo­s­phe­ric “In the Bleak Mid­win­ter” by Gus­tav Holst. Andrew Carter’s lil­ting arran­ge­ment of the Appa­la­chi­an Folk­song “I Won­der as I Wan­der” and Her­bert Howels’s “Here is the litt­le door”, which is both evo­ca­ti­ve and a strident batt­le cry are rare gems in the delight­ful collec­tion.

 

The pro­gram­me is also avail­ab­le with  a selec­tion of sea­so­nal rea­dings.

 

You can look for­ward to a par­ti­cu­lar­ly atmo­s­phe­ric musi­cal evening.

Calen­dar

Upco­m­ing

 

26/04/2020 20:00

St. Thibaut (FR)

Geist­li­ches A‑cap­pel­la-Pro­gramm & Orgel­im­pro­vi­sa­tio­nen mit Elmar Leh­nen

info

30/04/2020 19:00

St. Vin­cenz Men­den

Geist­li­ches a cap­pel­la-Pro­gramm & Orgel­im­pro­vi­sa­tio­nen mit Elmar Leh­nen

info

01/05/2020 19:00

Mari­en­ba­si­li­ka Keve­la­er

fest­li­ches Kon­zert zur Wall­fahrt­eröff­nung
Geist­li­ches A cap­pel­la-Pro­gramm & Orgel­im­pro­vi­sa­tio­nen mit Elmar Leh­nen

info

18/07/2020 16:45

ST. MARIEN UELZEN

“Da pacem” — A cap­pel­la Kon­zert in Rah­men der Sommerkonzerte16

info

09/08/2020 17:00

Stutt­gart

“Flo­re­te Flo­res ” A cap­pel­la Kon­zert im Rah­men der Kon­zert­rei­he Soli­tu­de Soi­ree

Schoss Soli­tu­de, Stutt­gart

20/08/2020 19:30

STADTKIRCHE ST. MARIEN PIRNA

“Da pacem” A cap­pel­la Kon­zert im Rah­men der Pir­n­a­er Abend­mu­si­ken

info

03/09/2020 19:00

ST. PETRI DOM ZU BREMEN

A cap­pel­la Kon­zert im Rah­men der Don­ners­tags-Motet­te

info

10/09/2020 19:00

DOM ZU VERDEN

A cap­pel­la Gesän­ge und Orgel­im­pro­vi­sa­tio­nen mit Basi­li­kaor­ga­nist Elmar Leh­nen (Keve­la­er) im Rah­men der Ver­de­ner Som­mer­kon­zer­te

info

15/11/2020 17:00

GRO­ßE KIRCHE BREMERHAVEN

Beet­ho­ven C Dur Mes­se Op. 86

Wil­trud de Vries — Sopran
Annet­te Gut­jahr — Alte
Bern­hard Schef­fel — Tenor
All­an Par­kes — Bass

BACH-CHOR Bre­mer­ha­ven
Phil­har­mo­ni­sches Orches­ter Bre­mer­ha­ven
Lei­tung: David Scholl­mey­er

info

26/09/2021 17:00

Murr­hardt

Geist­li­ches a cap­pel­la-Pro­gramm & Orgel­im­pro­vi­sa­tio­nen mit Elmar Leh­nen

EV. STADTKIRCHE MURRHARDT

 

Archi­ve

 

28/09/2019 19:30

A‑Cappella

Geist­li­ches a cap­pel­la-Pro­gramm & Orgel­im­pro­vi­sa­tio­nen mit Elmar Leh­nen

Stadt­kir­che St. Dyo­nis, Ess­lin­gen

 

05/10/2019 18:00

Flo­re­te Flo­res

A‑cap­pel­la-Pro­gramm mit Wer­ken von Leh­nen, Pärt, Fau­ré, Men­dels­sohn , Rhein­ber­ger, Fin­zy, Elgar, Dys­on u.a. & Orgel­im­pro­vi­sa­tio­nen

Orgel: Basi­li­kaor­ga­nist Elmar Leh­nen

Auf­er­ste­hungs­kir­che Über­lin­gen

23/11/2019 20:00

W.A. Mozart: Krö­nungs­mes­se und Te Deum

Der Kam­mer­chor Heins­berg
Kir­chen­chor St. Mari­en Gei­len­kir­chen
Barock­or­ches­ter Sin­fo­nia Delft

Wil­trud de Vries (Sopran)
Annet­te Gut­jahr (Mez­zo­so­pran)
Bern­hard Schef­fel (Tenor)
All­an Par­kes (Bass)

Ltg. Bernd Godemann

St. Mariä Him­mel­fahrt, Gei­len­kir­chen
info

24/11/2019 0:00 — 17:00

W.A. Mozart: Krö­nungs­mes­se und Te Deum

Der Kam­mer­chor Heins­berg
Kir­chen­chor St. Mari­en Gei­len­kir­chen
Barock­or­ches­ter Sin­fo­nia Delft

Wil­trud de Vries (Sopran)
Annet­te Gut­jahr (Mez­zo­so­pran)
Bern­hard Schef­fel (Tenor)
All­an Par­kes (Bass)

Ltg. Bernd Godemann

St. Niko­laus, Wal­den­rath
info

 

Press

“San­ges­freu­de und Dis­zi­plin, dazu die akzent­freu­di­ge Arti­ku­la­ti­on,
gepaart mit lyri­scher Emo­tio­na­li­tät…”

– Hei­den­hei­mer Zei­tung,  02.10.2019

 

„Höhe­punkt des Kon­zer­tes waren die A‑cap­pel­la-Minia­tu­ren des Solis­ten­quar­tetts …Liszts „Ave ver­um“ und erst recht Elmar Leh­nens „Sta­bat Mater“ offen­bar­ten ihren ganz eige­nen Har­mo­ni­en­reich­tum und das traum­haf­te Ver­ständ­nis von „con­so­nanz à 4″. Wie wäre es ein­mal mit einem gan­zen Kon­zert des Vokal­ensem­bles?“

– Nor­bert Duwe für die Nord­see-Zei­tung

“…Ob hin­ge­gen Liszt, Elgar, Pou­lenc, Pärt oder Ver­di: Sie alle beto­nen kom­po­si­to­risch im Zusam­men­hang mit Maria vor­wie­gend das Mys­ti­sche, das dem Welt­en­tru­bel Ent­rück­te, aber glei­cher­ma­ßen zutiefst Sinn­li­che, Tröst­li­che. Dies zu unter­strei­chen gelang dem Gesangs­quar­tett auf fas­zi­nie­ren­de Wei­se. Ange­nehm mode­ra­te Tem­pi und fein dosier­te dyna­mi­sche Wech­sel ver­mit­tel­ten eine stim­mungs­vol­le Atmo­sphä­re.”

Weser Kurier, Juni 2012

Dis­co­gra­phy

Maria

Der Wind heult, die Doh­len zwit­schern, in der Fer­ne klingt eine Glo­cke – alles das ist lei­se im Hin­ter­grund zu hören, wenn man sich in den Gesang des A‑cap­pel­la-Quar­tetts con­so­nanz à 4 und das Orgel­spiel Elmar Leh­nens ver­tieft und gibt der CD den Cha­rak­ter einer Live-Auf­nah­me.

 

Auf­ge­nom­men zwi­schen Okto­ber 2011 und Janu­ar 2012 in der Päpst­li­chen Mari­en­ba­si­li­ka zu Keve­la­er

Christ­mas Carols

Die “Christ­mas Carols” sind ein form­voll­endet nuan­cier­tes A‑cappella Erleb­nis eines har­mo­nisch poly­pho­nen Klang­kör­pers klas­si­scher Gesangs­stim­men — nicht nur für die dunk­len Mona­te.

Elgar: The Prince of Sleep

Gal­le­ry

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