Keywords: Baroque
| Neues Bachisches Collegium Musicum | Orchestra |
| Reinhard Goebel | Conductor |
| Georg Philipp Telemann | Ouvertüre für Streicher und Basso continuo Es-Dur TWV 55:Es4 |
| Johann Ernst Prinz von Sachsen-Weimar | Concerto für Violine, Streicher und Basso continuo G-Dur |
| Antonio Vivaldi | Concerto a-Moll op. 3/8 RV 522 – aus "L'estro armonico" |
| Johann Sebastian Bach | Konzert für drei Violinen und Streichorchester D-Dur BWV 1064R |
These events are similar in terms of concept, place, musicians or the program.
The Akademie für Alte Musik presents one of the most popular works of classical music in its original sound: Mozart's so-called ‘Great’ G minor Symphony, first performed in Vienna in 1788, is a work of passionate expression that does not shy away from harsh sounds and sombre minor tones. Ten years earlier, the composer had tried his luck in Paris in the hope of a permanent position. The French public's enthusiasm for virtuosity fuelled the establishment of the new ‘Sinfonie concertante’, which is characterised by several solo instruments - the ‘Wind Concertante’ features oboe, clarinet, horn and bassoon. The programme is rounded off with the E flat major Divertimento, written in Milan in 1771. The clarinets he used in this work for the first time opened up a new world of sound for Mozart.
In their first joint programme, Akamus and the up-and-coming star of the countertenor scene Carlo Vistoli dedicate themselves to key works of church music: Vivaldi set religious texts such as the psalm ‘Nisi Dominus’ to music with bittersweet sadness and operatic verve. The Venetian composer's ‘Stabat mater’, on the other hand, is one of the darkest baroque settings of the pain of Mary, the ‘Mater dolorosa’ and mother of Jesus. ‘I have had enough’ is also one of Bach's most moving cantatas.
In their first joint programme, Akamus and the award-winning Basel vocal ensemble Voces Suaves present musical highlights from the generation of German composers before Johann Sebastian Bach and thus the impressive musical world into which he was born. The programme includes works by the extended Bach family as well as by composers who are largely unknown today and who preceded the later Thomaskantor in his important positions in Mühlhausen, Weimar and Leipzig. From the oeuvre of Johann Sebastian Bach, the double-choir motet ‘Der Geist hilft unser Schwachheit auf’ will be performed..
Highlights from Mozart's chamber music oeuvre take centre stage in this concert by the Akademie für Alte Musik Berlin and its wind soloists Xenia Löffler and Erwin Wieringa. Mozart's works for wind instruments are indebted to his friendships with great contemporary virtuosos: when he wrote his horn concertos and his masterful horn quintet (the latter a concerto in miniature, so to speak), the composer had Joseph Leutgeb's phenomenal playing in his ear. His only chamber music work with solo oboe was dedicated to his friend Friedrich Ramm. The member of the famous Mannheim court orchestra performed the premiere in 1781.
Highlights from Mozart's chamber music oeuvre take centre stage in this concert by the Akademie für Alte Musik Berlin and its wind soloists Xenia Löffler and Erwin Wieringa. Mozart's works for wind instruments are indebted to his friendships with great contemporary virtuosos: when he wrote his horn concertos and his masterful horn quintet (the latter a concerto in miniature, so to speak), the composer had Joseph Leutgeb's phenomenal playing in his ear. His only chamber music work with solo oboe was dedicated to his friend Friedrich Ramm. The member of the famous Mannheim court orchestra performed the premiere in 1781.
Highlights from Mozart's chamber music oeuvre take centre stage in this concert by the Akademie für Alte Musik Berlin and its wind soloists Xenia Löffler and Erwin Wieringa. Mozart's works for wind instruments are indebted to his friendships with great contemporary virtuosos: when he wrote his horn concertos and his masterful horn quintet (the latter a concerto in miniature, so to speak), the composer had Joseph Leutgeb's phenomenal playing in his ear. His only chamber music work with solo oboe was dedicated to his friend Friedrich Ramm. The member of the famous Mannheim court orchestra performed the premiere in 1781.
This year's Christmas concert by AKAMUS features inspiring music for the Nativity. Highlights include Biber's "Annunciation" sonata and touching works by Italian composers like Albinoni and Marini.
Countertenor Christopher Ainslie—who made his debut with the Boulez Ensemble last season—and the Akademie für Alte Musik Berlin present a selection of arias from the operas of George Frideric Handel that celebrate the joys and sorrows of love. The musicians are joined by students of the Barenboim-Said Akademie who will work with the ensemble for first-hand training in historical performance practice. Instrumental pieces by Handel’s London contemporaries frame the operatic excerpts.
The NDR Vokalensemble and the Akademie für Alte Musik Berlin perform works by Antonio Lotti, Antonio Vivaldi and Antonio Caldara in the Elbphilharmonie Grand Hall. The conductor is Klaas Stok. Antonio must have been a real fashionable name for a while. How else can it be explained that three Venetians named Antonio achieved world fame at almost the same time? Antonio Lotti, Antonio Caldara, and Antonio Vivaldi, who is still famous today. Born and educated in the musical metropolis of the Baroque par excellence, the three composers developed into Venice’s most important export hits. Greats such as Johann Sebastian Bach studied their works, and Wolfgang Amadeus Mozart stole one or two musical figures for his own compositions.
Really old and extremely lively: For many seasons now, the Akademie für Alte Musik Berlin has been demonstrating how thrilling music from the 17th to the early 19th century can sound in its own series at the Konzerthaus Berlin.Bach's „St Matthew Passion“ was premiered for the second time in 1829 - in the Singakademie building in Berlin, which is now home to the Maxim Gorki Theatre. The conductor was Felix Mendelssohn-Bartholdy, who was only twenty years old. He paved the way for a Bach renaissance with the version he arranged and shortened. In the era of Viennese Classicism, Bach's music had simply hardly ever been performed. The Passion, however, which was first presented to the congregation of St Thomas' Church in Leipzig in 1727, is one of the most haunting musical depictions of the story of the crucifixion.
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