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Instrumental concertos for strings and woodwinds in the so-called „mixed taste “. Georg Philipp Telemann is generally regarded as the most prolific representative of this cosmopolitan musical cuisine. But other composers also were seduced by foreign tastes in their works:

Georg Philipp Telemann (1681-1767)
Concerto in E minor for strings and basso continuo TWV 43:e5
Concerto in G major for viola da braccio, strings and basso continuo TWV 51:G9
Concerto in B flat major für violin, strings and basso continuo TWV 51:B1

Antonin Reichenauer (1694-1730)
Concerto in B major for oboe, bassoon, strings and basso continuo

Georg Muffat (1654-1704)
Passacaglia from Sonata No. 5, Armonico Tributo (1682)

Johann Friedrich Fasch (1688-1758)
Concerto in F major for recorder, strings and basso continuo FWV L: F6

Carin van Heerden, oboe, recorder & direction
Karin Gemeinhardt, bassoon
Martin Jopp, violin
Lucas Schurig-Breuß, viola
L’Orfeo Barockorchester

The so-called Janissary music was the new craze during the turn of the 19th century. Threats from the Ottoman wars were largely averted, these were now regarded with a distinct cultural appropriation. The audience listening to this music shuddered while relishing in the memory of sieges and fighting spirit.

Mozart describes the setting of his opera for Harmoniemusik in a letter to his father on July 20, 1782. Although this version didn’t survive, we are delighted to still have the version by Johann Nepomuk Wendt, one of the most talented and prolific arrangers of the time.

Joseph Haydn (1732-1809)
Hungarian National March in E flat major Hob. VIII:4

Antonio Salieri (1750-1825)
Parade march in C major for harmoniemusik

Joseph Haydn
Allegretto from Symphony in G major no. 100 „Military“ (1794)
(in the composer’s own arrangement for 11 wind instruments and percussion)

Felix Mendelssohn-Bartholdy (1809-1847)
Notturno in C major op. 24

Ludwig van Beethoven (1770-1827)
Ecossaise for military music WoO 22
March (Tattoo) for military music WoO 20
Marcia alla Turca from: „Die Ruinen von Athen“ op. 113

Wolfgang Amadeus Mozart (1756-1791)
„Die Entführung aus dem Serail“
arranged for harmoniemusik by Johann Nepomuk Wendt (1745-1801)

L’Orfeo Bläserensemble
Carin van Heerden, oboe & direction

The so-called Janissary music was the new craze during the turn of the 19th century. Threats from the Ottoman wars were largely averted, these were now regarded with a distinct cultural appropriation. The audience listening to this music shuddered while relishing in the memory of sieges and fighting spirit.

Mozart describes the setting of his opera for Harmoniemusik in a letter to his father on July 20, 1782. Although this version didn’t survive, we are delighted to still have the version by Johann Nepomuk Wendt, one of the most talented and prolific arrangers of the time.

Joseph Haydn (1732-1809)
Hungarian National March in E flat major Hob. VIII:4

Antonio Salieri (1750-1825)
Parade march in C major for harmoniemusik

Joseph Haydn
Allegretto from Symphony in G major no. 100 „Military“ (1794)
(in the composer’s own arrangement for 11 wind instruments and percussion)

Felix Mendelssohn-Bartholdy (1809-1847)
Notturno in C major op. 24

Ludwig van Beethoven (1770-1827)
Ecossaise for military music WoO 22
March (Tattoo) for military music WoO 20
Marcia alla Turca from: „Die Ruinen von Athen“ op. 113

Wolfgang Amadeus Mozart (1756-1791)
„Die Entführung aus dem Serail“
arranged for harmoniemusik by Johann Nepomuk Wendt (1745-1801)

L’Orfeo Bläserensemble
Carin van Heerden, oboe & direction

Carl Ditters von Dittersdorf is maybe not one of the many forgotten composers of the Viennese Classical school, but certainly one of the most underestimated. His creativity and sense of humour is probably on a par with Joseph Haydn. High time then for an ensemble of the likes of the L’Orfeo Barockorchester, directed by Michi Gaigg, to present a handpicked choice of symphonies, including a „Sinfonia a Contrabasso e Viola concertati“and the last concerto in history for the Baroque oboe d’amore.

Carl Ditters von Dittersdorf

Sinfonia in D a Contrabasso e Viola concertati Grave D27 Krebs 127
Symphony in G minor Grave g1 Krebs 33
Symphony in D minor Grave d2 Krebs deest
Concerto for Oboe d’amore Lane 43 Krebs deest

Johann Warzecha, double bass
Nina Pohn, viola
Carin van Heerden, oboe d’amore
L’Orfeo Barockorchester
Michi Gaigg, conductor

Many myths are intwined around Mozart’s Requiem, which was never finished, and his Masonic Funeral Music. Both these works are immortal masterpieces. And this could also be said of the famous Symphony in g minor from 1788. This programme invites the audience to dwell into deep human emotions.

Wolfgang Amadeus Mozart
Maurerische Trauermusik K. 477
Symphony in G minor K. 440
Requiem in D major K. 626

Ekaterina Krasko, soprano
Tamara Obermayr, alto
Virgil Hartinger, tenor
Oddur Jónsson, bass

Collegium Vocale Salzburg
(Rehearsing: Michael Schneider)
L’Orfeo Barockorchester
Michi Gaigg, conductor

The audience in the Aula of the Salzburg University responds enthusiastically when Gaigg presents the first three cantatas of Bach’s Christmas Oratorio as a vivid semi-opera.
Süddeutsche Zeitung, Reinhard Brembeck

Johann Sebastian Bach: Christmas Oratorio BWV 248
Parts (Cantatas) I-III

Ekaterina Krasko, soprano
Alois Mühlbacher, alto
Virgil Hartinger, tenor
Benjamin Sattlecker, bass

Collegium Vocale Salzburg
L’Orfeo Barockorchester
Michi Gaigg, conductor

“Capriciousness”

Johann Georg Pisendel Sonata in c minor for 2 violins, 2 oboes, viola and bass J.III.2b
Georg Philipp Telemann Concerto in A major for 2 violins, strings and b.c. TWV 52:A2
Johann Friedrich Fasch Concerto in F major for recorder, strings and b.c. FWV L:F6
Francesco Bonporti Concerto a quattro in F major op. 11 Nr. 5
Antonio Vivaldi Concerto in d minor for 2 oboes, strings and b.c. RV 535

“Capriciousness” nowadays has a rather negative connotation. It implies arbitrariness, an unreliable and wishy-washy character. In the 18th century capriciousness was foremost associated with creativity. The differentiation between written out small ornaments (wesentliche Manieren) and improvisation (willkürliche Manieren) describes the amount of freedom in interpretation. In this programme concertos for strings and woodwinds are presented showcasing the artists’ improvising creativity. We hope to surprise our audience!

L’Orfeo Barockorchester and its soloists
Carin van Heerden, oboe, recorder and director

Johann Sebastian Bach: St Matthew’s Passion BWV 244

Collegium Vocale Salzburg and its soloists
Virgil Hartinger, evangelist
Stefan Zenkl, Jesus

L’Orfeo Barockorchester
Michael Schneider, director

A composition which moves and quietens us, leaving us contemplative. We are thrilled to join forces once again with our longstanding Salzburg colleagues.

Johann Sebastian Bach: St Matthew’s Passion BWV 244

Collegium Vocale Salzburg and its soloists
Virgil Hartinger, evangelist
Stefan Zenkl, Jesus

L’Orfeo Barockorchester
Michael Schneider, director

A composition which moves and quietens us, leaving us contemplative. We are thrilled to join forces once again with our longstanding Salzburg colleagues.

“Utopia with Bach”

Johann Sebastian Bach
Brandenburg Concertos No. 1 in F major BWV 1046, No. 4 in G major BWV 1049, No. 5 in D major BWV 1050 & No. 2 in F major BWV 1047

“A utopia with Bach” is presented in Raiding with four of the “Six concerts avec plusieurs instruments”. Bach demanded unprecedented and challenging virtuosic playing from his musicians. The history of the Brandenburg concertos commences in 1721. Back then Bach was chapel master at the court in Köthen and was considering changing his job. His manuscript of the Brandenburg concertos is dedicated to the Margrave Christian Ludwig of Brandenburg who maintained an excellent court orchestra and could therefore be regarded as a “letter” of application. Whether the Margrave took notice or even appreciated these works is not recorded. Until 1850 they remained unused in the court library. Only in the 20th century they became synonymous with the “top hits in Classical music”.

L’Orfeo Barockorchester
Michi Gaigg, director

Dreams come true (for any wind ensemble) if one plays this masterpiece:

Wolfgang Amadeus Mozart
Serenade No. 10 in B flat major K. 361 “Gran Partita”
Texts by Ingeborg Bachmann, Peter Shaffer and from letters by W. A. Mozart
Concert introduction: Albert Hosp

L’Orfeo Bläserensemble
Carin van Heerden, oboe & director

Marianna von Martines Overture in C major
Wolfgang Amadeus Mozart Concerto for piano and orchestra No. 23 in A major K. 488
Carl Philipp Emanuel Bach Sinfonie in E minor Wq. 178 H. 653 “Berlin Symphony No. 3”
Joseph Haydn Symphony No. 104 in D major Hob. I:104 “London”

To celebrate our 30th anniversary we would like to bring a metropolitan flair to the Brucknerhaus in Linz. Apart from Haydn’s Symphony No. 104, composed in 1795 during his second visit to London, we also present Carl Philipp Emanuel Bach’s third “Berlin Symphony” which he composed while in service with Frederic the Great. The first half of the programme includes one of Mozart’s most famous piano concertos, composed in Vienna, preceded by an overture by Marianne von Martines, a pupil of Haydn’s in Vienna. This programme celebrates the First Viennese School and their predecessors, in a way circumscribing our own history.

Olga Pashchenko, fortepiano
L’Orfeo Barockorchester
Michi Gaigg, conductor

Georg Philipp Telemann
Concerto in D major for violin, strings and b.c. TWV 22:6
“Vernunft, Geduld und Zeit” & “Stirbt mein Geist durch Dein Verlangen” TWV 22:6
“Mein Vergnügen wird sich fügen” TWV 20:18/1
„Die Hoffnung des Wiedersehens” TWV 20:70
Concerto in e minor for violin, 2 oboes, strings and b.c. TWV 53:e2
“Quillt, ihr überhäuften Tränen” TWV 22:13
“Fließen nichts als bittre Tränen” TWV 22:7
“Ein tröstendes Hoffen auf freudige Stunden” TWV 21:14
a.o.

“Hope is a disposition of the soul to persuade itself that what it desires will come to pass.” This inspiring thought from the great French philosopher René Descartes gave rise to this programme. It conveys the certainty that love prevails over all inner conflicts, dispels our fears and breeds trust. With this matinee we are happy to return with Dorothee Mields to a festival which has been a wonderful partner for many years.

Dorothee Mields, soprano
Julia Huber & Martin Jopp, violin
L’Orfeo Barockorchester
Carin van Heerden, oboe, recorder & direction