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

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 a surprisingly short period of time: he started at the end of September 1739, and by the end of October he considered the work finished. Like the earlier Organ Concertos, Op. 4, the Concerti Grossi were written to be performed during the intervals in concerts of oratorio works and English masques. Their composition was also influenced by the urgings of Handel’s publisher, John Walsh, thanks to whom the composer wrote with publication in mind. Although they were largely original works, they did not lack references to Handel’s own work (two of the Concerti – Nos. 9 and 11 – were adaptations of earlier organ concertos) and to other composers, such as Domenico Scarlatti. They were scored for two violins and cello in the concertino group and a four-part string ensemble with harpsichord as ripieno. These were identical forces to Arcangelo Corelli’s 12 Concerti Grossi, Op. 6, the earlier success of which was certainly noted by Handel. However, they did not gain their opus number until 1741, with their second edition. That was the first time that scores had been published exclusively to the order of those who had paid a pre-release subscription to them. The list of their subscribers was headed by as many as six members of the British royal family. 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 Stefano Rossi I skrzypce, solista Joanna Gręziak I skrzypce Agata Habera I skrzypce Jesenka Balić Žunić II skrzypce, solistka Alicja Sierpińska II skrzypce Vida Bobin-Sokołowska II skrzypce Anna Wieczorek altówka Tormod Dalen wiolonczela, solista Matylda Adamus wiolonczela Rafał Gorczyński kontrabas Joanna Boślak-Górniok klawesyn, kierownictwo artystyczne