The next festival will take place between July 6–12, 2026, and until then, we will post updates on the festival’s Facebook page.

Introduction in Miercurea Ciuc Early Music Festival and details about the 2025 edition

The Miercurea Ciuc Early Music Festival is one of the oldest continuously operating early music festivals in Europe and a unique example of long-term cultural sustainability in Central and Eastern Europe. Founded in 1980, the festival has maintained uninterrupted activity for over four decades — an exceptional achievement in a region marked by major political, economic, and institutional transitions.

Kájoni János was an important 17th-century Franciscan friar, polihistor, composer and melody collector, organist and constructor and repairer of organ, press office founder and publisher, architect, historian, botanist.

A central place of his life and activity was the Franciscan Church of Șumuleu Ciuc (part of Miercurea Ciuc), where he lived and worked. Kajoni left behind an important cultural legacy. One of the most significant elements of this heritage is the Codex Caioni, a manuscript containing a rich collection of musical material from his era. The codex is an important source of 17th-century European music, including both sacred and secular melodies, dances, and songs. According to the testismony of Codex Caioni, musical life in Transylvania four hundred years ago was an alloy of Western European and traditionally Transylvanian art music. The work of the most famouus European composers of the age, a large number of music pieces that formed part of the Hungarian noble culture can also be found in the Codex; these pieces may be classified neither as Baroque music in the European sense, nor as folk music, and still represent an inestimable value for us today.

Today, this source is extremely valuable for researchers and performers of early music. The Codex Caioni provides a rich repertoire and inspiration for early music ensembles working in the region, but also for musicians in Western Europe. The musical material preserved in the manuscript shows how the musical culture of Transylvania was closely connected with the wider European musical world, linking this region with the broader European cultural heritage.

Besides the Codex, other manuscripts have also survived, from which musicians still perform historical pieces today. At the same time, much research still remains to be done: archives, church collections, and manuscript repositories may still contain undiscovered sources that could further deepen our understanding of Kajoni’s remarkable legacy.

Thanks to the legacy of the Franciscan friar, Joannes Kajoni, we can experience the Transylvanian atmosphere of the age through the music played, danced and enjoyed by the Transylvanian Hungarian nobility.

The festival places strong emphasis on the transmission of knowledge and the sustainability of early music practice by actively supporting the next generation of performers. The ensembles Codex and Concerto Spiralis are regular returning artists, contributing to a continuous artistic dialogue within the festival. One of the members of these ensembles, teaches at Transylvania University of Brașov, Faculty of Music, where he has founded an ensemble with his students. Through such initiatives, the festival fosters meaningful connections between professional musicians and emerging artists, ensuring the continuity and vitality of the early music tradition.

The Miercurea Ciuc Early Music Festival takes place within a distinctive minority cultural context. Miercurea Ciuc, where the majority of the population belongs to the Hungarian community in Romania, is widely recognised as one of the key centres of Hungarian cultural life in Transylvania. Since its beginnings, the local early music movement has developed in close dialogue with the revival of traditional folk culture, particularly through the dance house movement and the pioneering work of the Barozda ensemble. This unique cultural environment has fostered a natural connection between historical performance practice and living musical traditions, encouraging the transmission of intangible cultural heritage and strengthening community identity. By bringing together early music, folk traditions, and intergenerational learning, the festival contributes to preserving and revitalising a rich musical heritage within a minority cultural landscape.

The festival’s programme is built on three pillars: the concerts of the Miercurea Ciuc Early Music Festival, the masterclasses and closing concerts of the Early Music Summer University, and a range of accompanying events (including scholarly lectures, musical activities for children, a Renaissance Children’s Day, a Renaissance dance house, etc.). The festival has repeatedly received the EFFE Label – awarded to the best European festivals – and is a member of the European Early Music Network (REMA).

The Miercurea Ciuc Early Music Festival is an important meeting point for Hungarian early music performers, providing a forum where young musicians can build professional connections, learn from masterclasses, and experience outstanding musical inspiration.

Festival Theme: Johann Sebastian Bach – Legacy, Renewal, and Living Tradition

The 2025 edition of the Miercurea Ciuc Early Music Festival was built around the musical legacy of Johann Sebastian Bach, commemorating the 340th anniversary of his birth and the 275th anniversary of his death—a double jubilee celebrated worldwide in recognition of one of the greatest composers in music history.

Although Bach was primarily known during his lifetime as an organist and church composer, today he is universally regarded as one of the most influential figures in music history and the central figure of the most significant musical family in Western culture. His work embodies both intellectual depth and emotional universality, making it an ideal focal point for a contemporary early music festival seeking to connect historical heritage with present-day audiences.

Early Music as a Living Artistic Practice

Over the past six decades, early music has developed into a vibrant and independent branch of classical music. Historical performance practices, the use of period instruments, distinctive timbres, improvisation, ornamentation, and the revival of long-forgotten works have given early music a fresh and dynamic voice for contemporary audiences.

The 2025 festival embraced this philosophy, presenting Bach’s legacy not as a museum artefact but as a living, evolving artistic language. Audiences enjoyed performances by musicians from Hungary, Germany, the Netherlands, Romania, Italy, Switzerland, and Belgium across historic venues such as the Franciscan Church of Șumuleu Ciuc, Mikó Castle, Csíki Cinema, Saint Augustine Church, Reformed Church, Unitarian Church, and less conventional sites like Lázár Castle in Szárhegy. The programme included 18 concerts alongside workshops, a Renaissance dance house, and a Renaissance Children’s Day.

A Coherent Thematic Programme

The Bach-themed concept permeated the entire nine-day festival programme. Across approximately 18 concerts and numerous accompanying events, audiences experienced a wide-ranging exploration of Baroque aesthetics, spirituality, and musical innovation. Concerts were held every day of the festival, with some days featuring up to three performances.

Events took place in both traditional and unconventional venues  creating a strong dialogue between music, history, and architectural heritage.

It was a great joy for them that the festival was filled with the works of one of the greatest masters who ever lived.

CLUJ BAROQUE ORCHESTRA (RO, HU, CH, DE, DK): “Jauchzet Gott in allen Landen”

The Cluj Baroque Orchestra brings us some of the most popular works of Johann Sebastian Bach on the occasion of the 340th anniversary of the composer’s birth, including the 4th and 2nd Brandenburg Concertos as well as the rarely performed reconstruction of the Oboe Concerto in D minor. In the 4th Brandenburg Concerto, alongside the two solo recorders, we can also hear brilliant and virtuosic violin passages

BAROQUE FESTIVAL ORCHESTRA (RO, HU, DE): Mass in b minor, BWV 232

The collaboration between the Bach Choir of Brașov and the Lux Aurumque Chamber Choir of Miercurea Ciuc in the framework of the Early Music Festival continues in 2025 after a first project in 2018, when they performed Johann Sebastian Bach’s St. Matthew Passion. The Mass in B minor, is the sum of techniques and experiences in the vocal field gathered by Bach during his lifetime. It is also a personal legacy and a theological statement through music. Concepts of trinity, sacraments, sin, death and resurrection are expressed musically at the highest level. The work was not heard by Bach during his lifetime; in fact, the first complete performance took place in 1856. The 99-page score of the Mass is today preserved in Berlin and since 2015 has been included in the UNESCO World Heritage List.  Of all Bach’s vocal works, the Mass in B minor ranks first in popularity.

At the heart of the concert of Concerto Spiralis were two cantatas by Johann Sebastian Bach (1685-1750) that cover a wide range of human emotions, from transcendent solace to the bittersweet moment of earthly farewell.

‘Ich habe genug’ is about the solace in the closure of life and the longing for a divine home. The cantata traces a profound spiritual journey: the opening aria expresses a deep resignation to the transience of earthly existence, the dreamlike floating of the middle, lullaby-like movement expresses a longing for rest, while the final aria is a dance-like burst of joy – death is not feared but celebrated as a happy homecoming.

‘Non sa che sia dolore’, by contrast, is a secular cantata, mixing pain and irony. The dramatic tone of the recitatives portrays the pain of farewell, while the virtuosic and sometimes playful tone of the arias softens the tragic aspect. The concluding movement is like coming out of a storm into a calm harbour – after leaving behind sorrow and fear, it proclaims the joy of relief.

The instrumental works played between the two cantatas bridge the sacred and profane worlds, highlighting the timeless beauty and expressive power of Bach’s music. The solist was Kalafszky Adriána.

SALAT-ZAKARIÁS SOMA & JOAN BORONAT SANZ / CH played sonatas for viola da gamba. The three sonatas for viola da gamba by Johann Sebastian Bach (1685-1750) occupy a prominent place not only in Bach’s oeuvre, but also in music history as a whole. The works were composed during Bach’s Leipzig period (1723-1750), during those highly creative years when the composer was particularly immersed in the genre of chamber music. Even though at this time the viola da gamba began to decline in significance, Bach decided to combine this instrument with the harpsichord in trio sonatas. The three voices in the works gain equal importances, and are divided between the viola da gamba and the harpsichord with an exquisite compositional care. The three voices demand a high level of harmony from the performers, and at the same time create the opportunity for an intimate, dialogical musical atmosphere. 

It is in the spirit of this relationship that Soma Salat-Zakariás and Joan Boronat Sanz perform the three sonatas, opening up new approaches and creating the possibility of an immersive musical experience in which Johann Sebastian Bach’s sonorities are uniquely condensed. Representing this harmonious relationship at the highest level of artistic quality, the two performers use their expressive interpretation to render the abstract realm of the work as concrete as possible for the audience, thus turning the musical experience into a musical ritual of exceptional intensity.

17^th Early Music Summer University in Miercurea Ciuc, between 5–11 July 2025

Masterclasses:

• Lute ang Guitar – István Kónya (Hungary)
• Recorder and Flute – Zoltán Széplaki (Hungary)
• Canto – Réka Palócz (Hungary)
• Baroque Violin – Piroska Vitárius (Hungary), Koppány Hunyadi (Romania)
• Harpischord – Mária Fülöp (Switzerland)
• Viola da gamba and Violone – István Csata (Romania)
• Renaissance Ensemble Class – Rumen István Csörsz, Valéria Pribay (Hungary)
• Percussion in Early Music, Percussion Chamber Course – Roland Kasza, Balázs Sudár (Hungary)

Optional courses available for all participants:

• Renaissance Ensemble (as second class) – Rumen István Csörsz, Valéria Pribay (Hungary)
• Club for mistrel song – Rumen István Csörsz (Hungary)
• Morning dance class – Gábor Kovács (Hungary)
• Baroque chamber music course – Gábor Kovács (Hungary)

Accompaniment on harpsichord: Zsuzsa Csengeri Kostyák (Romania), Zsolt Garai (Romania)

Collaborators: Elena Maria Șorban (Romania), Katalin Hanke (Romania), Noémi Karácsony (Romania)

If required, the organizers can provide translation during the classes.

The students’ expectations were exceeded by the quality of instruction, the approachability of the teachers, and the provision of a supportive environment with all necessary equipment, classrooms, and resources by the organizers. The six-day intensive summer university fully met the objectives set by the organizers. The event also fulfills educational, taste-shaping, and next-generation nurturing roles.

Impact
In 2025, approximately 7,500 participants attended concerts and events, experiencing a unique blend of early music, folk traditions, and intergenerational learning. By integrating heritage, education, and community identity, the festival continues to preserve and revitalize the rich musical legacy of Transylvania while connecting it with the wider European cultural heritage.

By dedicating its thematic focus to Johann Sebastian Bach, the festival successfully combined historical depth, artistic excellence, international collaboration, and audience engagement into a unified and meaningful festival concept.

Recognized multiple times with the EFFE Label and a member of REMA, the festival exemplifies a sustainable and resilient model for early music festivals worldwide.

Online Presence & Media

The creative communication strategy of the 2025 Miercurea Ciuc Early Music Festival centred on engaging diverse audiences with the festival’s thematic focus on Johann Sebastian Bach and Baroque music. Using a multi-layered communication approach, the festival translated a historically rich and complex musical theme into accessible and emotionally resonant messaging on key platforms, notably its official Facebook page, where updates, event highlights and participant experiences were regularly shared with the community.

The Facebook channel was used to showcase the festival’s narrative arc — from detailed descriptions of daily concerts and masterclasses to personal reflections from participating artists and audiences — thereby creating ongoing engagement throughout the nine-day programme. Posts documented not only the musical performances but also emotive highlights, such as temple concerts that offered “musical and spiritual experiences” to attendees.

Crucially, the festival’s communication bridged heritage and contemporary relevance. Messaging consistently highlighted how early music emerges as a living art form, introducing historically informed performance and Baroque repertoire in ways that resonate with modern audiences. Social media posts emphasised community connection — sharing participant testimonies and behind-the-scenes moments — reinforcing a sense of belonging and cultural participation.

The Facebook platform also served as a central information hub for program details and real-time updates, ensuring clarity and accessibility for both local attendees and international visitors. Visual storytelling — including photo albums and event videos — helped communicate the festival’s atmosphere and aesthetic, enhancing audience immersion and anticipation.

This integrated communication approach contributed to the festival’s overall reach and impact, enabling approximately 7,500 festival attendees to connect with the programme and with each other, both online and on-site. By creatively leveraging Facebook as a dynamic storytelling and engagement space, the Miercurea Ciuc Early Music Festival successfully transformed a complex cultural theme into a shared, lived experience.

In the online space, daily and continuous communication primarily took place on the festival’s website and Facebook page, but the festival’s Instagram account was also used.

During the festivals were short videos: 14 short film were made:

• 1 – promo video – before the festival,
• 9 – short video every day – 9 day,
• 4 – event promo videos: about the 17^th Early Music Summer University, program for children, thanks video, thank video for sponsors.

• Facebook:
  • https://www.facebook.com/Csikszeredai.Regizene.Fesztival/events
  • https://www.facebook.com/Csikszeredai.Regizene.Fesztival/videos/
• YouTube: https://www.youtube.com/channel/UCUj06TAjHvE9sUfCNIytyMA
• Instagram: https://www.instagram.com/mciucearlymusic/

The 2025 Miercurea Ciuc Early Music Festival exemplifies long-term cultural sustainability and heritage preservation. Running uninterrupted since 1980, it integrates cultural, social, and environmental sustainability through historically informed performance, masterclasses, workshops, and youth engagement. By celebrating the legacy of Johann Sebastian Bach and the 17th-century Codex Caioni, the festival transmits European early music heritage while fostering intergenerational knowledge transfer. Performances in historic venues, local transport initiatives, and digital outreach minimize environmental impact. Through international collaboration, audience development, and immersive educational programs, the festival ensures both the vitality of early music practice and the protection and living transmission of a unique Central European musical heritage.