Keywords: Concert on period instruments, Early Music
| Natalia Valentin | Piano Pleyel 1842, Piano Erard 1802 |
| Sonate n°38 en fa majeur Hob.XVI.23 | Joseph Haydn |
| Bagatelle op.33 n°4 en la majeur | Ludwig van Beethoven |
| Valse en fa mineur op. 70 n° 2 | Frédéric Chopin |
| Nocturne op. 48 n°1 en do mineur | Frédéric Chopin |
| Tarentelle en la bémol majeur op. 43 | Frédéric Chopin |
These events are similar in terms of concept, place, musicians or the program.
For this intimate, salon-like performance, Quatuor Cambini-Paris—dedicated to the classical and Romantic repertoires on period instruments—joins forces with pianist David Lively. Together they interpret the chamber version of Chopin's Concerto No. 2.
Mathilde Vialle, Thibaut Roussel and Ronan Khalil bring to life instruments from the collections of the Musée de la musique, in an English Salon where they are joined by tenor Zachary Wilder.
Contrary to what Rousseau opined, female composers of the 18th century were just as inspired as their male contemporaries. Sophie de Bardonnèche, Justin Taylor and Lucile Boulanger breathe new life into a musical heritage by women too long in the shadows.
When Igor Levit takes his seat at the keyboard, one thing is for sure: you’ll hear the pieces on the programme as never before. The German-Russian pianist makes his very own mark, often as unexpected as it is brilliant, on every work he plays, whisking even veteran repertoire warhorses into the here and now. In this concert Levit is accompanied by the Berliner Barock Solisten in music by two composers who can be described without exaggeration as pinnacles of music history: Johann Sebastian Bach and his son Carl Philipp Emanuel Bach. The most famous of the Bach sons made a no less illustrious career for himself than his father, and was admired by fellow composers like Mozart, Beethoven and Haydn. In this cleverly thought-out programme, Levit and the Berlin ensemble create a father-son dialogue along entirely modern lines.
It takes some confidence to dedicate a sacred work personally to the Pope. But Claudio Monteverdi was keen to reach as large an audience as possible when he published his »Vespro della Beata Vergine« in 1610. With the work, he sought to express all the facets of his compositional prowess, and the »Vespers for the Blessed Virgin« remains one of the greatest works of sacred music to this day. In 13 movements, Monteverdi demonstrates his mastery and his ability to integrate all the contrasting stylistic influences of his time into one diverse whole. The six-strong Flemish instrumental ensemble Les Cornets Noirs specialises in the music of Monteverdi’s time. Together with the singers of the Delectus Cantionum ensemble, they present a historically informed and musically expressive performance of this legendary work.
What traces do wars leave on the music of the time? The Hathor Consort, a viol ensemble of to which harp, organ and cornett are added, joins forces with soprano Dorothee Mields to look for echoes of the Thirty Years’ War in the works of composers who witnessed this catastrophic period in European history. With his »Trostgedichten in Widerwertigkeit deß Kriegs«, the poet Martin Opitz wrote an influential treatise of edification in the midst of this fierce conflict that claimed the lives of around a third of the population. The composers of the age attempted to process the deep trauma of violence, hunger and utter defencelessness through their music. This programme brings together four musical witnesses of the time:Heinrich Schütz, Samuel Scheidt, Andreas Hammerschmidt and Heinrich Albert. The acclaimed Hathor Consort focuses mainly on Renaissance and Baroque music, but it regularly combines this with music from other cultures as well as with contemporary works. Dorothee Mields likewise focuses entirely on Early Music, and her clear and intimate soprano is regarded as one of today’s top voices in the field of historic performing practice.
Jakub Józef Orliński bridges the gap between the past and the present effortlessly: with a warm, radiant voice and rousing enthusiasm, the countertenor, who has already won the OPUS KLASSIK award three times, transports his audience to centuries long past. And yet he is not an artist who loses himself in the past – on the contrary. Orliński’s sparkling charm and his sympathetically sober view of things like success and career are as unpretentious as they are contemporary. In this ProArte concert, you can look forward to his excursion into the musically incredibly rich world of the Italian Baroque.
Who doesn’t know the Eurovision anthem with the opening bars of Marc-Antoine Charpentier’s »Te Deum«! The renowned Monteverdi Choir Hamburg, together with soloists and the lautten compagney Berlin under the direction of Antonius Adamske, presents the entire work in its original historical sound – with timpani and trumpets.
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