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Georg Philipp Telemann: Overture in a minor TWV 55:a1 (from: Six Ouvertures à 4 ou 6, Hamburg 1736)
Antonio Vivaldi: Concerto in F major for flauto dolce, strings and b.c. RV 433 “La Tempesta di Mare”
Jean-Philippe Rameau: « pour les divinités des mers »
Suite from Hippolyte et Aricie (1733, 42, 57 and 67 / Naïs, 1749)

Carin van Heerden, recorder
L’Orfeo Barockorchester
Michi Gaigg, direction

Paris 1733. The performance of a tragédie en musique in five acts, depicting the love story of Hippolyte, the son of Theseus, and Aricia, the daughter of a hostile royal family, heralded a new phase in the life of Jean-Philippe Rameau. All of a sudden the 50-year old Rameau from Dijon was the talk of town and was consequently celebrated as the most significant opera composer of his day. His work Hippolyte et Aricie was repeatedly performed in 1742 and 1757. New dances were included in the later versions, performed as an orchestral suite in this programme. Storms at sea, menacing sea monsters and the appearance of sea gods are topics set to exquisite music.

“A warm welcome to all students and others interested in attending the final rehearsal before our concert!”

Johann Sebastian Bach:
Orchestra Suite No. 2 in b minor BWV 1067
Cantata “Ich habe genung” BWV 82.2
Concerto in A major for Oboe d’amore, Strings and B.c. BWV 1055a
Cantata “Ich armer Mensch, ich Sündenknecht” BWV 55

Anders J. Dahlin, tenor
Marcello Gatti, traverso
Carin van Heerden, oboe d’amore
L’Orfeo Barockorchester
Michi Gaigg, direction

In 1723 Johann Sebastian Bach became cantor at the Thomas Church in Leipzig, a position he held for 27 years until his death in 1750. Bach’s foremost task was to provide music on a weekly basis for the city’s four churches. It was during this period that he composed all the great Passions, the four cantata cycles, the B minor Mass and a number of other church music masterpieces. L’Orfeo Barockorchester, directed by Michi Gaigg, performs two cantatas written in the years 1726–1727: “Ich armer Mensch, ich Sündenknecht”, BWV 55 and “Ich habe genung”, BWV 82. Bach didn’t only compose church music during this period though: in fact, he wrote instrumental music, orchestral works, solo concerts and chamber music during his whole lifetime. In addition to all his obligations in Leipzig he also directed the weekly concert series of the Collegium Musicum that performed to a paying audience. A substantial amount of instrumental music was composed for these occasions. L’Orfeo Barockorchester performs the second Orchestral Suite (BWV 1067) and his Concerto in A major for oboe d’amore (BWV 1055a), better known for its later arrangement for harpsichord.

Georg Philipp Telemann: Das selige Erwägen des bittern Leidens und Sterbens Jesu Christi TWV 5:2
Passion Oratorio in nine comtemplations for soloists, choir and orchestra (1720–22, rev. 1728 & 1763)

Maria Ladurner, soprano (Faith, Zion, Devotion)
Bernhard Berchtold, tenor (Devotion)
Johannes Bamberger, tenor (Petrus)
Rafael Fingerlos, baritone (Jesus)
Matthias Hoffmann, bass (Caiphas)
Collegium Vocale Salzburg
L’Orfeo Barockorchester
Michi Gaigg, conductor

The Passion as musical genre deals with the aspect of time left. Illustrious soloists join us in a performance of Georg Philipp Telemann’s “Seliges Erwägen des bittern Leidens und Sterbens Jesu Christi”, one of the most beautiful and moving Passion Oratorios. It doesn’t always have to be a Bach Passion, does it?

Georg Philipp Telemann: Das selige Erwägen des bittern Leidens und Sterbens Jesu Christi TWV 5:2
Passion Oratorio in nine comtemplations for soloists, choir and orchestra (1720–22, rev. 1728 & 1763)

Maria Ladurner, soprano (Faith, Zion, Devotion)
Bernhard Berchtold, tenor (Devotion)
Johannes Bamberger, tenor (Petrus)
Rafael Fingerlos, baritone (Jesus)
Matthias Hoffmann, bass (Caiphas)
Collegium Vocale Salzburg
L’Orfeo Barockorchester
Michi Gaigg, conductor

The Passion as musical genre deals with the aspect of time left. Illustrious soloists join us in a performance of Georg Philipp Telemann’s “Seliges Erwägen des bittern Leidens und Sterbens Jesu Christi”, one of the most beautiful and moving Passion Oratorios. It doesn’t always have to be a Bach Passion, does it?