Originalklang Ensemble Diderot with French baroque music

Pearls in Baroque: The French Connection of Purcell

{oh!} TRIO / Michaela Koudelková / Tasting French Music

This concert is like tasting exquisite French wines – it explores the wealth of musical flavours, aromas and notes contained in the sophisticated compositions of French artists of the 17th and 18th centuries. One can easily imagine Jean-Henri d'Anglebert's Prelude non mesuré opening the evening with notes of deep, sensual sound. What does the imagination suggest? Can you find hints of dark fruit in it? François Martin's Sonata II will remind you of the delicate taste of tannins, balanced by an elegant texture. We would say that Pierre Gautier's Suites des Prisons brings notes of oak barrels and leather accents to mind. De Villeneuve is a composer who shares a surname with famous French wines. In his Suite No. 3 from the collection Conversations en manière de sonatas, he takes us straight to the essence of a refined pale golden liquid that encases subtle floral notes. Alexandra KozowiczConcert duration: approximately 70 minutes

Bal baroque

Join in the dancing! As part of the festivities in honour of William Christie’s 80th birthday, Les Arts Florissants invites you to a new participatory ball.

Verità Baroque

The ensemble Verità Baroque, some of whose members also form the Alinde Quartet, firmly believes Baroque music is relevant today. Using period instruments, this new generation of musicians joyfully explores the works of Vivaldi, Telemann, and others, connecting them with contemporary compositions. Their performances promise new insights, listening experiences, and spontaneous moments of happiness.

Baroque soloists "fattoamano"

In earlier times, anyone who gave their Opus 1 to print sent out a clear signal: They had completed their musical apprenticeship and the time had come to present their first works to the public. At the turn of the 17th and 18th centuries, it was customary to present trio sonatas for two violins and basso continuo in such an opus 1. The Roman violin master Arcangelo Corelli did this in 1681, as did many of his colleagues.The baroque soloists of the Bamberg Symphony Orchestra fattoamano will present a small selection of these opus 1 trio sonatas.

Baroque Solo Concertos

Every two years, the BRSO Academy holds its traditional baroque concert, in which the stipendiaries focus on the interpretation of works from the 17th and 18th centuries.

Chamber Concert: Baroque music

»Music of human breath, it creates a world of its own, conjured up by the sorcerous forces of sounds which, summoned by an imagination rich in visions, enter and pass through our earthly bodies all the way to the soul.« (Henri Sauguet) Our chamber concert offers delightful pieces for flute and bassoon: Vivaldi‘s trio sonata in A minor is a magnificent composition full of intricate sound cascades, but also of introspective moments with expansive cantilenas. The chamber trio in F major, also baroque, was composed by Friedrich Wilhelm Zachow, who lived from 1663 to 1712 and came from a Leipzig family of town pipers: the melodic roles of flute and bassoon interact intensively on the harmonic foundation of the continuo – with expressive upswings and dynamic outbursts of virtuosity. Beethoven‘s trio is a precious early work from his Bonn days – where he confided to the Kurfürst about his early preoccupation with composing, that his muse whispered: »Just try it and jot down some of your soul‘s harmonies!« The piece was probably written around 1786 as chamber music for private use – and the passionate love for the daughter of a count‘s family might have been the impetus for the lush sounds that are interspersed throughout the otherwise very concerto-like progress of the work. Finally, Weber‘s enchanting G minor trio from 1819, when the composer was ill and obviously dealt with his mental suffering with music: the highly romantic composition is thus characterised in parts by deep melancholy, in particular in the pivotal Andante, which bears the title »Shepherd's Lament« – yet it captivates the listener with a very playful character in the framing movements.

Chamber concert: strings flute baroque lute

An exciting journey of discovering the wide-ranging world of the Baroque era: the programme features a hand-picked selection of chamber music from the 17th and 18th centuries, some of which are rarely heard works filled with virtuosity, colours and melodic expression. And there is a marvellous foray into some of the European courts of this era. The influence of the Dresden court lutenist Sylvius Leopold Weiss, for example, reached far beyond Saxony: Wilhelmine, the music-loving Margravine of Bayreuth, also arranged for his harmonious compositions to be performed in her palace. When Telemann presented his series of quartets at the royal court in Versailles, the musical world there was at his feet – as the elegant and engaging dance movements were his fervent homage to the most elegant court in Europe at the time. It was said of Karl Kohaut that he was a »must-hear« when visiting Vienna. He was regarded as a gifted player of the lute in Haydn’s circle, but also composed himself – often with a preference for folk idioms. Michel Lambert was not only famous as a singer in the Parisian salons in the age of Louis XIV, but was also widely popular for his marvellous melodies, which were published widely as instrumental works. At the end of the Baroque picture book, we hear wonderful variations on the »Follia« tune, a stirring dance in triple metre that was a popular hit in Europe at that time: it was performed constantly in the streets, whether sung, whistled or stomped. Vivaldi’s magnificent version is a true showdown between the instruments.

Orpheus Baroque – Queen Christina here and there

Queen Christina made a strong mark on the cultural life of both 17th-century Stockholm and her new home city of Rome – after abdicating the throne and converting to Catholicism. Orpheus Baroque follows in her footsteps with music by Gustav Düben the elder, who was the court kapellmeister in Stockholm and a significant figure in the city's musical life, as well as French and Italian greats such as Lully, Carissimi, Stradella, and Corelli.Orpheus Baroque Stockholm primarily consists of members of the Royal Stockholm Philharmonic Orchestra. In just under ten years, the ensemble has become a dynamic and creative meeting place not only for philharmonic musicians with expertise in early music but also for many other leading baroque musicians in Sweden. The artistic directors are Johannes Rostamo, solo cellist of the Royal Stockholm Philharmonic Orchestra, and the lutenist Jonas Nordberg.Orpheus Baroque's highly popular concerts feature thematic programs and collaborations with invited top musicians from the international baroque music scene. This concert is led by the French-Italian baroque violinist Emmanuel Resche-Caserta.

Orpheus’ Treasure Trove – A baroque christmas greeting

Christmas is the season of music! Orfeus Treasure Chamber is visited by the Italian baroque specialist, organist, and harpsichordist Luca Guglielmi in a program centered around Christmas. The program includes reconstructed trio sonatas by Johann Sebastian Bach, a type of compositions destroyed in a fire in Weimar in 1714, when many works from this important period of his creativity were lost. Also featured is music by Arcangelo Corelli, a truly central figure in the musical life of Rome during his time, who refined and popularized the trio sonata and the concerto grosso format.Since its founding in 2015, Orpheo Baroque has become an indispensable part of the capital's music scene and a meeting place for both the musicians of the Royal Stockholm Philharmonic Orchestra and some of Sweden's leading freelance baroque musicians. The ensemble's more chamber music-oriented approach, as we encounter here, emerges under the banner of Orpheus' Treasure Trove.Each concert with Orpheus Baroque is led by guest top musicians in early music, and here we once again encounter the Italian organist and harpsichordist Luca Guglielmi, one of the world's foremost experts in early music.