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Simply... Philharmonic!2: Concerti grossi, Op. 6 (Part I)

Date & Time
Tue, Dec 3, 2024, 19:00
Kore Orchestra, photo: Grzesiek Mart Ladies and Gentleman, due to reasons beyond the Warsaw Philharmonic, Alexis Kossenko will not perform in the concert on 3 December 2024. Concerto in C major, TWV 51:C1 and Concerto in D major, TWV 51:D1 by Georg Philipp Telemann will be replaced in the programme by Overture in B flat major TWV 55:B5. Other pieces in the programme and performers remain unchanged. George Frideric Handel composed the cycle of 12 Concerti Grossi, Op. 6 in... Read full text

Keywords: Baroque

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Musicians

Kore Orchestra
Stefano RossiSkrzypce, Solista
Jesenka Balić ŽunićSkrzypce, Solistka
Tormod DalenWiolonczela, Solista
Joanna Boślak-GórniokHarpsichord, Art Director

Program

Concerto grosso in A major, Op. 6 No. 11Georg Friedrich Händel
Concerto grosso in E minor, Op. 6 No. 3Georg Friedrich Händel
Overture in B flat major for strings and basso continuo, TWV 55:B5Georg Philipp Telemann
Concerto grosso in B minor, Op. 6 No. 12Georg Friedrich Händel
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Last update: Wed, Nov 27, 2024, 10:14

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Simply... Philharmonic!2: Concerti grossi, Op. 6 (Part II)

Wed, Dec 4, 2024, 19:00
Filharmonia Narodowa, Chamber Music Hall (Warszawa)
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Simply... Philharmonic!2: French Suites

Mon, Dec 2, 2024, 19:00
Filharmonia Narodowa, Chamber Music Hall (Warszawa)
Maciej Skrzeczkowski (Harpsichord)
Maciej Skrzeczkowski, photo: Piotr Grzybowski In his periodical Historisch-Kritische Beyträge zur Aufnahme der Musik, German music theorist Friedrich Wilhelm Marpurg published a letter on the differences between Italian and French music. In it, he mentions George Frideric Handel and Georg Philipp Telemann as German composers whose work, in Marpurg’s opinion, resembled the French style. It should come as no surprise that he did not mention Bach in his text; after all, Johann Sebastian never left his homeland and had no direct links to France. However, Bach must have valued the French style, which he learned both through copies of works by composers such as Nicolas de Grigny and François Dieupart, and by studying the work of Johann Jakob Froberger and others who drew on the music of French composers. He also appreciated the French art of ornamentation, as evidenced by the table of ornaments contained in the Klavierbüchlein für Wilhelm Friedemann Bach, modelled on embellishments employed by harpsichordist Henri d’Anglebert. Its influence can be seen in Bach’s ‘French’ Suites, which combine elements of the French and Italian styles. Johann Sebastian himself did not give the Suites this subtitle; it comes from Marpurg. According to the theorist’s above-cited letter, Italian works were closer to the melancholic temperament of his people. Bach’s synthesis of styles seems to have been justified, however, since, as Marpurg claimed, Germans can ‘capture good wherever they see it’. Simply… Philharmonic! Project 2: The figure of Johann Sebastian Bach is associated mainly with Leipzig. He moved there in 1723, taking up the post of cantor at St Thomas’s, and remained there for the rest of his life. Although Bach never left the German states, he was certainly familiar with the greatest achievements of the French and Italian composers of his time. Born in the city of Halle, not far from Leipzig, was Bach’s peer George Frideric Handel. Handel’s path as a composer began in his hometown, from which, after a stay in Hamburg, he went to Italy. He then returned to Germany, before eventually ending up in England. Connections with the Electorate of Saxony in the first half of the eighteenth century can also be found with other composers. Christoph Graupner studied in Leipzig, and the student ensemble Collegium Musicum, which gave public concerts, was founded in this city by Georg Philipp Telemann. In Dresden, the court flautist was Joseph Joachim Quantz, and the aforementioned Telemann, after leaving Leipzig, became Kapellmeister in the service of Erdmann II Promnitz in Sorau (now Żary) – a privy councillor to the Elector of Saxony and King of Poland Augustus II. It is not surprising that so many eminent artists had links to this region, since one of the finest ensembles in Europe was active at the Wettin court in Dresden at that time. Daniel Laskowski
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Philharmonic Day – Newly Composed Part I

Sat, Jan 11, 2025, 11:10
The Norwegian Jostein Stalheim is active as a composer, accordionist, and "sound painter." He is also a professor at the Western Norway University of Applied Sciences. Here, we hear the first sections of his newly composed work, where the musicians employ innovative technical solutions.Strollers and prams cannot be brought into Konserthuset Stockholm and are best left at home. A designated stroller tent is set up outside the entrance, where prams can be left, subject to space availability.
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Simply... Philharmonic!4: André Lislevand, Kore Orchestra

Tue, Mar 18, 2025, 19:00
Filharmonia Narodowa, Chamber Music Hall (Warszawa)
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André Lislevand, photo: Cezary Zych; Orkiestra Kore, photo: Grzesiek Mart According to eighteenth-century accounts, the French violinist Jean-Baptiste Volumier, as concertmaster of the Dresden court orchestra, turned it into one of the best ensembles in Europe. After Volumier’s death in 1728, the position of concertmaster was taken over by violin virtuoso Johann Georg Pisendel. Before obtaining this position, Pisendel had developed his violin skills partly in Venice, where he studied with and befriended Antonio Vivaldi. Their friendship resulted in mutual dedications of works, as well as Pisendel’s transcribing of Vivaldi’s compositions. He also transcribed works by other composers, such as Francesco Geminiani, whose Concerto Grosso, Op. 2 No. 2 he arranged as a Sonata à quattro. Pisendel’s talent was also appreciated by other composers (including Tomaso Albinoni), who dedicated works to Pisendel. He also passed on his outstanding skills as a teacher, and one of his most famous pupils was Johann Gottlieb Graun, composer of virtuoso concertos for viola da gamba that were also influenced by great virtuosos and were composed with the outstanding gambist Ludwig Christian Hesse in mind. Hesse, in turn, probably learned to play the gamba from his own father, Ernst Christian, who had previously studied in Paris with Marin Marais and Antoine Forqueray. Simply… Philharmonic! Project 4: If one were to assign a specific instrument to each country of particular importance on the musical scene of Baroque Europe, the viola da gamba would certainly fall to France. Such an attempt to find national connections to instruments was also made by the eighteenth-century gambist Hubert Le Blanc, who opened his treatise on the instrument with the statement: The Divine Intelligence, among its many gifts, has endowed mortals with Harmony. The violin fell to the Italians, the flute to the Germans, the harpsichord to the English, and the basse de viole to the French. Although the roots of the French school of gamba playing can be traced to England (the first chordal compositions were written there, and the English are credited with popularising the instrument on the Continent), it was in France that some of the instrument’s greatest virtuosos worked and its construction was perfected. Foreign musicians also trained in France, such as the German gambist Ernst Christian Hesse. One instrument related to the viola da gamba is the lute, and works for lute were taken as models for gamba compositions by Antoine Forqueray, among others, a musician contemporary of Marin Marais. In their time, the eminent lute player, theorist and guitarist Robert de Visée, who was also a gamba player, worked in the ensemble of King Louis XIV at Versailles, as Jean Rousseau mentions in one of his letters. The similarity between the gamba and the lute may also have been noticed by Johann Sebastian Bach, as is suggested by the aria ‘Komm süsses Kreuz’ from the St Matthew Passion, BWV 244, in which the composer envisaged a solo part for viola da gamba. In the original version, however, the solo instrument there was the lute. Daniel Laskowski
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Filharmonia Narodowa, Chamber Music Hall (Warszawa)
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