Anne Suse Enßle der Mönch von Salzburg

Mönch von Salzburg

“Mönch von Salzburg“ – A performance of his complete œuvre

Since 2014, Duo Enßle-Lamprecht have devised a large-scale project relating to the works of the 14th-century minstrel “Mönch von Salzburg“. His legacy includes a plethora of melodies and texts that are occasionally still heard today. His records, for example, contain a Middle High German version of the Christmas song “Joseph Dearest, Joseph Mine“.

In a large-scale concert series, Duo Enßle-Lamprecht aims to perform his œuvre arranged in a thematic way and make them heard on the concert stage today.

Among other things, what is special about this project is that for every concert program, we commission a piece by a contemporary composer comments on the the medieval (musical) language.

Composers who have contributed to this project so far (as of October 2019):

Bruno Strobl, Hossam Mahmoud, Herbert Grassl, Kurt Enßle, Hannes Kerschbaumer, Tanja Brüggemann, Marcello Fera, Tobias Schick, Alexander Kaiser, Annette Schlünz, Josef Ramsauer, Frederik Neyrinck, ka’mi, Peter Jakober und Matthias Leboucher.

(current status 2021)

A preview of the concert programme “The Monk and the Contessa“ and “Des Munichz Passion” can be found here

Cordula Stepp / voice
Philipp Lamprecht / voice, hurdy-gurdy, medieval percussion instruments
Susanne Ansorg / medieval string instruments
Anne-Suse Enßle / recorders and medieval harp

Further information can be found at



Duo Enßle-Lamprecht

Virtuoso, unconventional, and brimming with the joy of playing – that is how Anne Suse-Enßle (recorder) and Philipp Lamprecht (percussion) present themselves in front of their audience. Always on the lookout for new and offbeat ideas, they take their audiences on journeys into the manifold soundscapes of our present. With a seemingly inexhaustible array of various recorder and percussion instruments, the duo focusses on the most recent contemporary music as well as music from the Middle Ages.

Formed in 2008 in Salzburg, the ensemble specialises in performing contemporary works as and sound installations as well as medieval music (dances, troubadour songs, and religious music of the time). Every once in a while, the musicians commission new compositions. Workshops at music universities in Austria and Germany are also part of both musicians’ activities. Moreover, Anne-Suse Enßle and Philipp Lamprecht also compose their own musical pieces.

Recent projects include a number of children’s concerts in collaboration with Stiftung Mozarteum Salzburg and PODIUM Esslingen as well as a complete performance concert series of the 14th-century minstrel “Mönch von Salzburg”’s oeuvre. For this concert series, the duo is accompanied by a larger ensemble consisting of singers and instrumentalists (partners include the International Paul Hofhaymer Society Salzburg and others).

In 2012, the ensemble was awarded a Start Scholarship by the Austrian Ministry of Education.
CDs: POINTS OF CONTACT (2010) unimozarteum, jeuX (2012) sumtone, TESSERAE (2017), audax records

Caffe⸗Hauß Zimmermann ,Anne-Suse Enßle, Blockflöten Reinhard Führer, Cembalo

Caffe⸗Hauß Zimmermann

Anne-Suse Enßle, recorders
Reinhard Führer, harpsichord

This programme was conceived for Bachfest Leipzig 2016 and performed to great acclaim. We were invited as part of the concert series “Ausgezeichnet” (which translates as “excellent”), where young award recipients of international music competitions present themselves as part of the Bach Festival.

This project is based on my studying of this repertoire as part of my diploma thesis at the University of Music and Performing Arts Vienna in 2015.

“Caffe⸗Hauß Zimmermann” combines well-known works by Johann Sebastian Bach with lesser-known works by Albinoni, Goldberg, Couperin, Telemann and others.

There are plenty of interconnections to discover that may not be apparent at first glance. One such example is Albinoni’s sonata in a minor, for which H.N. Gerber wrote a basso continuo realisation, which seems to have been corrected in a music composition class by his teacher J.S. Bach. Goldberg, too, was a student of Bach’s. The close proximity of his compositional style to that of his teacher led to his sonata in C major being ascribed to J.S. Bach for a long time. Telemann was close to Bach in a way, seeing as he was the godfather of the latter’s son Carl Philipp Emanuel; however, both his style and his professional development were quite different. He can therefore be thought of as a counterpart to Bach in this programme.
The programme invokes the chamber-music tradition in Leipzig during the first half of the 18th century and investigates the question what the famous “Collegium Musicum” that was led by Johann Sebastian Bach at the time may have sounded like. The title of the programme is a reference to Gottfried Zimmermann, a Leipzig coffeehouse owner who organised weekly concerts with the collegium.
This programme will be released as a CD with the label “Audax Records” in 2019.

Blockflötistin Anne Suse Enssle Ricercare

Ricercare – Finding the Right Sound

Anne-Suse Enßle, recorders

Even today, it is not possible to tell whether the Ricercate of the late 16th century were conceived as compositions in their own right or whether they served as exercise pieces during daily practice, which should help the player to better (re-)acquaint him- or herself with the instrument. It is also seems obvious to assume that pieces of this kind were for the most part improvised and that it is a mere coincidence that only a few Ricercate survived in diminution tutors as examples. These pieces are additionally fascinating due to their organisation in different hexachords.

In this project, Ricercate are juxtaposed with major contemporary repertoire pieces for solo recorder.

The programme is performed on a range of different instruments which emphasise the diversity that can be found in the sound of a recorder. All pieces have one thing in common: a concentration the sound of a recorder – pure, yet not simple, showcasing the instrument’s manifold soundscapes.

windcraft-quartet - Anne-Suse Enßle


Elisabeth Wirth, Christina Hahn, Manuela Mitterer, Anne-Suse Enßle

The four recorder players met in Dorothee Oberlinger’s recorder class and studied together. In addition to their ensemble work, the musicians are also succesful soloists, being award recipients at the German Music Competition (“Deutscher Musikwettbewerb”) and the International MOECK Solo Recorder Player Competition in the United Kingdom. Despite the fact that the focus in their respective artistic careers differs, they share a love for ensemble music. The musicians’ different interests are mirrored in the unusual programming of the quartet and their use of a range of different recorders. New and ancient music as well as arrangements of works belonging to entirely different genres (such as choir music) make it possible for the musicians to creatively engage with the possibilities provided by four recorders. Besides evergreens and major repertoire pieces, they make rarely performed works come alive in their concerts. In addition, all four musicians also work as teachers and educators in a range of areas relating to the recorder. It therefore does not come as a surprise that children’s concerts and arts and culture mediation play a crucial role in the artists’ work. In this field, they developed (among other things) the project “Wo die wilden Flöten flöten” (“Where the Wild Recorders Are”) with Monika Sigl-Radauer as a moderator, which was performed multiple times in the children’s concert series “Lauschkonzerte” (“listening concerts”) initiated by Stiftung Mozarteum (the last performance was in June 2016).

In 2018, the quartet formed part of the Jeunesse Austria programme for young audiences with two projects, “Wo die wilden Flöten flöten” and the evening programme “Airlines between then & now”. Another programme for the evening, “Mythos Flöte” (The Myth of the Recorder), is bookable through the contact form on this website

More information about the ensemble at

Historical Bassoons

If you have studied the dates on this website carefully, you will probably have stumbled upon the comment “Baroque bassoon / classical bassoon”. It can sometimes be a great benefit to swap an upper voice for a continuo instrument and assume an entirely different role in the musical context of a piece.

My interest in historical bassoon instruments allows me to be part of larger orchestral projects, such as operas or oratorios – I particularly enjoy this task, which provides a fascinating and welcome change from the more soloistic or more chamber-music oriented usual work of a recorder player.

Fascination of Symmetry – Between categories

Anne-Suse Enßle, recorders
Robert Selinger, harpsichord

With this programme, I won the renowned MOECK/SRP Competition in Greenwich/London in 2013. I was delighted that the jury and the audience found my idea convincing. The experimental elements, transgressing common notions of form, in this programme are a particularly interesting field for me. It invites us to immerse ourselves in such a concert with newly opened ears and question existing and habitual patterns of hearing, as well as the need to sort music into individual categories.
In addition, the recorder in all its facets is presented in “Fascination of Symmetry” – the programme can therefore also be seen as an homage to this fascinating instrument.
The programme comprises works by L. Berio., H. Schmelzer, G.Ph. Telemann, G. Netti, J.M. Leclair, A.P.Mealli, and F. Romitelli.