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Johann Sebastian Bach:

„Gott soll allein mein Herze haben“ BWV 169
Cantata for alto, two oboi d’amore, oboe da caccia, two violins, viola, obbligato organ & basso continuo

„Der Friede sei mit dir“ BWV 158
Cantata for bass, oboe, violin & basso continuo

Prelude and Fugue E minor BWV 548
for organ

„Ich habe genung“ BWV 82
Cantata for bass, oboe, two violins, viola & basso continuo

Margot Oitzinger, alto
Peter Kooij, bass
Jan Jansen, organ
L’Orfeo Barockorchester
Michi Gaigg, direction

In Johann Sebastian Bach’s cantata oeuvre, there are several works for a solo voice and orchestra. Three of these jewels are presented by two great personalities of Bach interpretation in collaboration with L’Orfeo Barockorchester. The Martin-Luther-Kirche Linz provides the perfect setting.

Johann Sebastian Bach:

Brandenburg Concerto No. 5 D major BWV 1050
for transverse flute, violin & harpsichord solo, strings & basso continuo

Concerto C minor for oboe, violin, strings & basso continuo BWV 1060 R

Brandenburg Concerto No. 4 G major BWV 1049
for violin & two fiauti d’echo (recorders) solo, strings & basso continuo

Brandenburg Concerto No. 2 F major BWV 1047
for trumpet, recorder, oboe & violin solo, strings & basso continuo

Franz Landlinger, trumpet
Carin van Heerden & Philipp Wagner, recorder & oboe
Julia Huber-Warzecha, violin
Marcello Gatti, transverse flute
Erich Traxler, harpsichord

L’Orfeo Barockorchester
Michi Gaigg, direction

19:00 introductory talk with Helmut Schmidinger

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

Shira Patchornik, soprano
Margot Oitzinger, alto
Virgil Hartinger, tenor
Alexander Grassauer, bass

Collegium Vocale Salzburg
L’Orfeo Barockorchester
Michi Gaigg, direction

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

Shira Patchornik, soprano
Margot Oitzinger, alto
James Gilchrist, tenor
Alexander Grassauer, bass

Collegium Vocale Salzburg
L’Orfeo Barockorchester
Michi Gaigg, direction

16:00 Christmas Oratorio for children
with Manuela Kloibmüller, dramaturgy & moderation

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

Shira Patchornik, soprano
Margot Oitzinger, alto
James Gilchrist, tenor
Alexander Grassauer, bass

Collegium Vocale Salzburg
L’Orfeo Barockorchester
Michi Gaigg, direction

11:00 Christmas Oratorio for school children
with Manuela Kloibmüller, dramaturgy & moderation

Wolfgang Amadeus Mozart:
Masonic Funeral Music, KV 479a
Misericordias Domini KV 222
Requiem in d minor KV 626

Johann Michael Haydn:
Christus factus est, Tenebrae facte sunt, Nos autem gloriari oportet

Ekaterina Krasko, soprano
Collegium Vocale Salzburg with its soloists| Michael Schneider, choir master
L’Orfeo Barockorchester
Michi Gaigg, conductor

Reverence for the deceased hasn’t exactly been a common virtue in music history. No sooner did a composer leave a work unfinished than the volunteers emerged to pay their respect. Few composers were as canny as Johannes Brahms who burnt every unfinished work. Many works were left unfinished: Bach’s Art of the Fugue, Schubert’s symphonic fragments… the list is endless, but one work will always have a distinguished position:

Mozart ‘s Requiem. Many myths developed around this awesome „mortality music “. Tragically it became Mozart’s own swan song. The historical origin of the Masonic Funeral Music is an equal flurry of speculation. Was it indeed intended for the Freemasons, or should it be regarded as church music?

Two works are added to the programme in Salzburg, setting the concert in the context of Passiontide: the Misericordias Domini KV 222, a contrapuntal showpiece by the young Mozart combining polyphony with expressive harmony, and a highly emotional a capella work by Johann Michael Haydn.

Wolfgang Amadeus Mozart:
Maurerische Trauermusik K 477 (479a)

Laudate Dominum
from „Vesperae solennes de Confessore“ K 339

Requiem D minor K 626

Ekaterina Krasko, soprano
Collegium Vocale Salzburg with its soloists| Michael Schneider, choir master
L’Orfeo Barockorchester
Michi Gaigg, direction

Reverence for the deceased hasn’t exactly been a common virtue in music history. No sooner did a composer leave a work unfinished than the volunteers emerged to pay their respect. Few composers were as canny as Johannes Brahms who burnt every unfinished work. Many works were left unfinished: Bach’s Art of the Fugue, Schubert’s symphonic fragments… the list is endless, but one work will always have a distinguished position:

Mozart ‘s Requiem. Many myths developed around this awesome „mortality music “. Tragically it became Mozart’s own swan song. The historical origin of the Masonic Funeral Music is an equal flurry of speculation. Was it indeed intended for the Freemasons, or should it be regarded as church music?

In Gmunden we will include the Laudate Dominum from the „Vesperae solennes de Confessore“KV 339, one of Mozart’s most well-known church compositions. The soprano solo sings an exquisite cantilena on the glorification of God, in the end supported by the choir.

Johann Sebastian Bach:

Orchestral Suite No. 1 C major BWV 1066 (c. 1718)
Orchestral Suite No. 2 B minor BWV 1067 (1738–39)
Orchestral Suite No. 3 D major BWV 1068 (1730–31)
Orchestral Suite No. 4 D major BWV 1069 (1725)

L’Orfeo Barockorchester
Michi Gaigg, conductor

Johann Sebastian Bach’s four orchestral suites, presumably written over a period of around 20 years from 1718 onwards, each of which is a free sequence of dance movements preceded by an overture, are among the most popular pieces of Baroque music and contain some of the best-known pieces of classical music, such as the Badinerie (dalliance) that concludes the 2nd Suite or the Air (melody) that comes second in the 3rd Suite. This veritable hit parade is presented in its original sound by the L’Orfeo Barockorchester under the direction of Michi Gaigg.

Johann Sebastian Bach:
St John Passion BWV 245

Christina Gansch, soprano
Ulrike Malotta, alto
Bernhard Berchtold, tenor (Evangelist & arias)
Günter Haumer, bass (Pilatus & arias)
Stefan Zenkl, bass (Christus)

Domkantorei St. Pölten
L’Orfeo Barockorchester
Valentin Kunert, direction

Good Friday 1724: Johann Sebastian Bach’s St. John Passion is heard for the first time in Leipzig’s St. Nicholas’s Church. “If we are able to play and hear this music three hundred years later, I am struck by only one thing: this music contains an enormous power that repeatedly moves us as deeply as if we were experiencing it for the first time,” says cathedral choirmaster Valentin Kunert, Music Director of the newly-formed Domkantorei St. Pölten, which brings this masterpiece to Festspielhaus St. Pölten along with the L’Orfeo Barockorchester.

Helmut Schmidinger:
… continuierlich … Metamorphoses for harpsichord and strings (premiere, commissioned by the L’Orfeo Barockorchester)

Franz Schubert:
Symphony No. 2 B major D 125
Symphony No. 4 C minor D 417 „Tragic“

Erich Traxler, harpsichord
L’Orfeo Barockorchester
Michi Gaigg, conductor

After its „Symphonic Schubertiade“ of summer 2022, L’Orfeo returns under the direction of Michi Gaigg to the sites of the celebrated event and lets the audience of the Attergau Kultursommer as well as that of the Donaufestwochen in Strudengau participate in its „unpretentiously and intuitively“ executed reading of two works by the early mature master performed „with animo and youthful élan“ (Die Presse, W. Weidringer).

As a counterpoint Helmut Schmidinger employs the harpsichord, Early Music’s instrument par excellence, in this commissioned work in a contemporary fashion.

Helmut Schmidinger:
… continuierlich … Metamorphoses for harpsichord and strings (premiere, commissioned by the L’Orfeo Barockorchester)

Franz Schubert:
Symphony No. 2 B major D 125
Symphony No. 4 C minor D 417 „Tragic“

Erich Traxler, harpsichord
L’Orfeo Barockorchester
Michi Gaigg, conductor

After its „Symphonic Schubertiade“ of summer 2022, L’Orfeo returns under the direction of Michi Gaigg to the sites of the celebrated event and lets the audience of the Attergau Kultursommer as well as that of the Donaufestwochen in Strudengau participate in its „unpretentiously and intuitively“ executed reading of two works by the early mature master performed „with animo and youthful élan“ (Die Presse, W. Weidringer).

As a counterpoint Helmut Schmidinger employs the harpsichord, Early Music’s instrument par excellence, in this commissioned work in a contemporary fashion.

Joseph Haydn:
Die wüste Insel

Later (German) version of the azione teatrale L’isola disabitata Hob. XXVIII:9
Text by Johann Otto Heinrich Schaum after Pietro Metastasio

Cornelia Traxler, soprano (Constanze)
Marelize Gerber, soprano (Silvia)
Markus Miesenberger, tenor (Fernando)
Stefan Zenkl, bass (Enrico)

L’Orfeo Barockorchester
Erich Traxler, musical direction
Manuela Kloibmüller, direction
Isabelle Reder, stage & costumes

Hardly known works by great masters of music history or musical languages neglected on European opera stages have been given a platform at the donauFESTWOCHEN since 1995 – in the 30th season Joseph Haydn’s Die wüste Insel (The desert Island): a gripping plot based on motifs from Robinson Crusoe by Daniel Defoe, dramatic, orchestral accompagnati for the recitatives, seven stirring arias and a wonderful quartet for the finale.

Now this operatic jewel with the L’Orfeo Barockorchester is coming to the stage of Greinburg Castle for the festival’s anniversary.

A donauFESTWOCHEN im Strudengau 2024 production.

Joseph Haydn:
Die wüste Insel

Later (German) version of the azione teatrale L’isola disabitata Hob. XXVIII:9
Text by Johann Otto Heinrich Schaum after Pietro Metastasio

Cornelia Traxler, soprano (Constanze)
Marelize Gerber, soprano (Silvia)
Markus Miesenberger, tenor (Fernando)
Stefan Zenkl, bass (Enrico)

L’Orfeo Barockorchester
Erich Traxler, musical direction
Manuela Kloibmüller, direction
Isabelle Reder, stage & costumes

Hardly known works by great masters of music history or musical languages neglected on European opera stages have been given a platform at the donauFESTWOCHEN since 1995 – in the 30th season Joseph Haydn’s Die wüste Insel (The desert Island): a gripping plot based on motifs from Robinson Crusoe by Daniel Defoe, dramatic, orchestral accompagnati for the recitatives, seven stirring arias and a wonderful quartet for the finale.

Now this operatic jewel with the L’Orfeo Barockorchester is coming to the stage of Greinburg Castle for the festival’s anniversary.

A donauFESTWOCHEN im Strudengau 2024 production.

Joseph Haydn:
Die wüste Insel

Later (German) version of the azione teatrale L’isola disabitata Hob. XXVIII:9
Text by Johann Otto Heinrich Schaum after Pietro Metastasio

Cornelia Traxler, soprano (Constanze)
Marelize Gerber, soprano (Silvia)
Markus Miesenberger, tenor (Fernando)
Stefan Zenkl, bass (Enrico)

L’Orfeo Barockorchester
Erich Traxler, musical direction
Manuela Kloibmüller, direction
Isabelle Reder, stage & costumes

Hardly known works by great masters of music history or musical languages neglected on European opera stages have been given a platform at the donauFESTWOCHEN since 1995 – in the 30th season Joseph Haydn’s Die wüste Insel (The desert Island): a gripping plot based on motifs from Robinson Crusoe by Daniel Defoe, dramatic, orchestral accompagnati for the recitatives, seven stirring arias and a wonderful quartet for the finale.

Now this operatic jewel with the L’Orfeo Barockorchester is coming to the stage of Greinburg Castle for the festival’s anniversary.

A donauFESTWOCHEN im Strudengau 2024 production.

Joseph Haydn:
Die wüste Insel

Later (German) version of the azione teatrale L’isola disabitata Hob. XXVIII:9
Text by Johann Otto Heinrich Schaum after Pietro Metastasio

Cornelia Traxler, soprano (Constanze)
Marelize Gerber, soprano (Silvia)
Markus Miesenberger, tenor (Fernando)
Stefan Zenkl, bass (Enrico)

L’Orfeo Barockorchester
Erich Traxler, musical direction
Manuela Kloibmüller, direction
Isabelle Reder, stage & costumes

Hardly known works by great masters of music history or musical languages neglected on European opera stages have been given a platform at the donauFESTWOCHEN since 1995 – in the 30th season Joseph Haydn’s Die wüste Insel (The desert Island): a gripping plot based on motifs from Robinson Crusoe by Daniel Defoe, dramatic, orchestral accompagnati for the recitatives, seven stirring arias and a wonderful quartet for the finale.

Now this operatic jewel with the L’Orfeo Barockorchester is coming to the stage of Greinburg Castle for the festival’s anniversary.

A donauFESTWOCHEN im Strudengau 2024 production.

Joseph Haydn:
Die wüste Insel

Later (German) version of the azione teatrale L’isola disabitata Hob. XXVIII:9
Text by Johann Otto Heinrich Schaum after Pietro Metastasio

Cornelia Traxler, soprano (Constanze)
Marelize Gerber, soprano (Silvia)
Markus Miesenberger, tenor (Fernando)
Stefan Zenkl, bass (Enrico)

L’Orfeo Barockorchester
Erich Traxler, musical direction
Manuela Kloibmüller, direction
Isabelle Reder, stage & costumes

Hardly known works by great masters of music history or musical languages neglected on European opera stages have been given a platform at the donauFESTWOCHEN since 1995 – in the 30th season Joseph Haydn’s Die wüste Insel (The desert Island): a gripping plot based on motifs from Robinson Crusoe by Daniel Defoe, dramatic, orchestral accompagnati for the recitatives, seven stirring arias and a wonderful quartet for the finale.

Now this operatic jewel with the L’Orfeo Barockorchester is coming to the stage of Greinburg Castle for the festival’s anniversary.

A donauFESTWOCHEN im Strudengau 2024 production.