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Opening the donauFESTWOCHEN im strudengau 2021:

Georg Philipp Telemann: March in F major (for the price shooting of the Francfort canonry) TWV 50:43, for 2 corni da caccia, 3 oboes and bassoon
Ouverture á 5 in F major TWV 44:12, for 2 oboes, 2 corni da caccia and a thorough bass
Menuet in C major TWV 40:110, for two corni da caccia without a bass from Der getreue Music-Meister (1728/29)
Suite in F major TWV 44:13, for 2 oboes, 2 corni da caccia and bassoon
Johann Mattheson: Trio in g minor op.1 no. 3 (1708), for 3 recorders
Conrad Friedrich Hurlebusch: Suite in c minor from Compositioni musicali per il cembalo, Hamburg (c. 1735), for Harpsichord solo
Reinhard Keiser: Ouverture à 4 in D major for 3 oboes and bassoon

L’Orfeo Bläserensemble:
Carin van Heerden, Philipp Wagner and Anabel Röser, oboe and recorder
Stephan Katte and Jens Pribbernow, natural horn
Makiko Kurabayashi, bassoon
Alexander Gergelyfi, harpsichord

„Spick and span“ is how the hautboy players were described as they preceded the Frankfurt artilleries in 1716. Apparently they played a march by Georg Philipp Telemann especially composed for the occasion. These regimental hautboy players didn’t only play during military parades though but also entertained their audiences with the finest art music for 2 oboes, 2 horns and bassoon. The programme otherwise focuses on works from Telemann’s Hamburg period. In Hamburg he enjoyed a high reputation and was exceedingly active. Works by his Hamburg colleagues Reinhard Keiser, Johann Mattheson and Conrad Friedrich Hurlebusch are also included.

Johann Sebastian Bach:
Orchestra Suite No. 1 in C major BWV 1066
Brandenburg Concerto No. 5 in D major BWV 1050, for traverso, violin, harpsichord, strings and b.c.
Concerto in a minor for Violin, Strings and B.c. BWV 1041

Benjamin Herzl, violin
L´Orfeo Barockorchester
Michi Gaigg, direction

Johann Sebastian Bach:
Orchestra Suite No. 1 in C major BWV 1066
Concerto in a minor for Violin, Strings and B.c. BWV 1041
Brandenburg Concerto No. 2 in F major BWV 1047, for trumpet, recorder, oboe, strings and b.c.

Benjamin Herzl, violin
L´Orfeo Barockorchester
Michi Gaigg, direction

Johann Sebastian Bach:
Orchestra Suite No. 1 in C major BWV 1066
Brandenburg Concerto No. 5 in D major BWV 1050, for traverso, violin, harpsichord, strings and b.c.
Concerto in A major for oboe d’amore, strings and b.c. BWV 1055a
Brandenburg Concerto No. 2 in F major BWV 1047, for trumpet, recorder, oboe, strings and b.c.

Carin van Heerden, oboe d’amore
L’Orfeo Barockorchester
Michi Gaigg, direction

Georg Philipp Telemann: March in F major (for the price shooting of the Francfort canonry) TWV 50:43, for 2 corni da caccia, 3 oboes and bassoon
Ouverture á 5 in F major TWV 44:12, for 2 oboes, 2 corni da caccia and a thorough bass
Menuet in C major TWV 40:110, for two corni da caccia without a bass from Der getreue Music-Meister (1728/29)
Suite in F major TWV 44:13, for 2 oboes, 2 corni da caccia and bassoon
Johann Mattheson: Trio in g minor op.1 no. 3 (1708), for 3 recorders
Conrad Friedrich Hurlebusch: Suite in c minor from Compositioni musicali per il cembalo, Hamburg (c. 1735), for Harpsichord solo
Carl Philipp Emanuel Bach:March in F major H 637 no. 1, for 2 corni da caccia, 2 oboes and bassoon
Georg Friedrich Handel: Aria in F major HWV 411, for 2 corni da caccia, 2 oboes and bass
Reinhard Keiser: Ouverture à 4 in D major for 3 oboes and bassoon

L’Orfeo Bläserensemble:
Carin van Heerden, Philipp Wagner and Anabel Röser, oboe and recorder
Stephan Katte and Jens Pribbernow, natural horn
Makiko Kurabayashi, bassoon
Alexander Gergelyfi, harpsichord

„Spick and span“ is how the hautboy players were described as they preceded the Frankfurt artilleries in 1716. Apparently they played a march by Georg Philipp Telemann especially composed for the occasion. These regimental hautboy players didn’t only play during military parades though but also entertained their audiences with the finest art music for 2 oboes, 2 horns and bassoon. The programme otherwise focuses on works from Telemann’s Hamburg period. In Hamburg he enjoyed a high reputation and was exceedingly active. Works by his Hamburg colleagues Reinhard Keiser, Johann Mattheson, Conrad Friedrich Hurlebusch and Carl Philipp Emanuel Bach are also included – along with George Frederic Handel, with whom Telemann was in regular correspondence.

George Frideric Handel: Siroe, re di Persia HWV 24
Opera in three acts
Libretto by Pietro Metastasio
First performance: London, Haymarket Theatre, 17 February 1728

Matthias Helm, baritone (Cosroe)
Clint van der Linde, countertenor (Siroe)
Nicholas Hariades, countertenor (Medarse)
Annastina Malm, soprano (Emira)
Amelie Müller. soprano (Laodice)
Philipp Kranjc, bass (Arasse)

L’Orfeo Barockorchester
Erich Traxler, musical direction
Kobie van Rensburg, stage direction and video production

In co-production with Händel-Festspiele Halle 2022

George Frideric Handel: Siroe, re di Persia HWV 24
Opera in three acts
Libretto by Pietro Metastasio
First performance: London, Haymarket Theatre, 17 February 1728

Matthias Helm, baritone (Cosroe)
Clint van der Linde, countertenor (Siroe)
Nicholas Hariades, countertenor (Medarse)
Annastina Malm, soprano (Emira)
Amelie Müller. soprano (Laodice)
Philipp Kranjc, bass (Arasse)

L’Orfeo Barockorchester
Erich Traxler, musical direction
Kobie van Rensburg, stage direction and video production

In co-production with Händel-Festspiel Halle 2022

George Frideric Handel: Siroe, re di Persia HWV 24
Opera in three acts
Libretto by Pietro Metastasio
First performance: London, Haymarket Theatre, 17 February 1728

Matthias Helm, baritone (Cosroe)
Clint van der Linde, countertenor (Siroe)
Nicholas Hariades, countertenor (Medarse)
Annastina Malm, soprano (Emira)
Amelie Müller. soprano (Laodice)
Philipp Kranjc, bass (Arasse)

L’Orfeo Barockorchester
Erich Traxler, musical direction
Kobie van Rensburg, stage direction and video production

In co-production with Händel-Festspiele Halle 2022

George Frideric Handel: Siroe, re di Persia HWV 24
Opera in three acts
Libretto by Pietro Metastasio
First performance: London, Haymarket Theatre, 17 February 1728

Matthias Helm, baritone (Cosroe)
Clint van der Linde, countertenor (Siroe)
Nicholas Hariades, countertenor (Medarse)
Annastina Malm, soprano (Emira)
Amelie Müller. soprano (Laodice)
Philipp Kranjc, bass (Arasse)

L’Orfeo Barockorchester
Erich Traxler, musical direction
Kobie van Rensburg, stage direction and video production

In co-production with Händel-Festspiele Halle 2022

George Frideric Handel: Siroe, re di Persia HWV 24
Opera in three acts
Libretto by Pietro Metastasio
First performance: London, Haymarket Theatre, 17 February 1728

Matthias Helm, baritone (Cosroe)
Clint van der Linde, countertenor (Siroe)
Nicholas Hariades, countertenor (Medarse)
Annastina Malm, soprano (Emira)
Amelie Müller. soprano (Laodice)
Philipp Kranjc, bass (Arasse)

L’Orfeo Barockorchester
Erich Traxler, musical direction
Kobie van Rensburg, stage direction and video production

In co-production with Händel-Festspiele Halle 2022

Wolfgang Amadeus Mozart:
Vesperae solennes de Confessore K 339
Requiem in d minor K 626

Soloists N. N.
cappella nova Graz
Domkantorei St. Pölten
L’Orfeo Barockorchester
Otto Kargl, conductor

George Frideric Handel: The Messiah HWV 56
Oratorio in three parts
Text of the Old and New Testament (presumably compiled by Charles Jennens)

Soloists N.N.
Sollner Kantorei
L’Orfeo Barockorchester
KMD Ernst Hagerer, conductor

George Frideric Handel: The Messiah HWV 56
Oratorio in three parts
Text of the Old and New Testament (presumably compiled by Charles Jennens)

Soloists N.N.
Sollner Kantorei
L’Orfeo Barockorchester
KMD Ernst Hagerer, conductor

Joseph Haydn: The Creation Hob. XXI:2
Oratorio in three parts
Text by Gottfried van Swieten
sung in German

Elisabeth Wimmer, soprano
Johannes Bamberger, tenor
Stefan Zenkl, bass
Chorus sine nomine
L’Orfeo Barockorchester
Johannes Hiemetsberger, direction

The oratorio “The Creation” represents not only a crucial point in Joseph Haydn‘s compositional output, but at the same time, marks the beginning of a new chapter in the history of the oratorio. At the turn of the 19th century, Haydn broke with the traditional dominance of the arias, giving the chorus a distinctly greater significance. This opened the way for a new kind of choral oratorio which became one of the standard features of developing bourgeois concert life.

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

Maria Ladurner, soprano
Alois Mühlbacher, alto
Virgil Hartinger, tenor
Markus Volpert, bass
Collegium Vocale Salzburg
L’Orfeo Barockorchester
Michi Gaigg, conductor

Franz Schubert: Arias and Romances from:
Adrast D 137 (1819-21), Die Zauberharfe D 644 (1820), Lazarus D 689 (1820),
Alfonso und Estrella D 732 (1821-22) and Fierabras D 796 (1823)
Symphony No. 2 in B flat major D 125 (1814-15)

Daniel Behle, tenor
L’Orfeo Barockorchester
Michi Gaigg, conductor

“To embark on this excursion with Behle’s wonderfully luminous and elegantly lavish tenor is like a journey through lush greenery and light-flooded summer freshness.” (BR Klassik) The programme sounds as poetic as this review – the titles of Schubert’s Singspiels and operas alone let the imagination run wild: “Die Zauberharfe”, “Alfonso and Estrella” or “Fierabras”. These enchanting gems of the opera repertoire have rarely been heard on German stages. And it is undoubtedly to the credit of Hamburg tenor Daniel Behle that he is bringing Schubert’s astonishingly extensive stage works, which with few exceptions were never performed even during his lifetime, back to life.

Johann Stamitz: Sinfonia I [in D major] from: Sei Sinfonie a piu istrumenti intitolate La Melodia Germanica Op. XI (1758)
Antonio Rosetti: Concerto in G a Oboe principale (c. 1780)
Anton Fils: Symphonia II [in G minor] from: Six Simphonies à quatre parties obligées Œuvre IIme (1760)
Franz Xaver Richter: Sinfonia IV [in D minor] from: Sei Sinfonie a più strumenti opera IIIa (1760)
Carl Stamitz: Simphonie concertante [in E flat major] à plusieurs instruments et exécutée au Concert spirituel
for violin, oboe, viola and bassoon solo (1775)
Ignaz Holzbauer: Sinfonia I [in E flat major] from: Six Simphonies à huit parties obligées Œuvre IIIe (1769)

Carin van Heerden & Philipp Wagner, oboe
Julia Huber-Warzecha, violin
Lucas Schurig-Breuß, viola
Makiko Kurabayashi, bassoon
L’Orfeo Barockorchester
Michi Gaigg, conductor

What would they have been, the masters of the Mannheim School – first and foremost Johann Stamitz as its founder, his sons Carl and Anton, the Kapellmeister of Viennese origin, Ignaz Holzbauer, who was appointed to him in 1753, the supposed outsider and lateral thinker Franz Xaver Richter or their congenial, early deceased comrade-in-arms Anton Fils, without the European musical capital of the time, Paris, and its lively and broad-based publishing scene? It was precisely these minds and their innovative musical creations that decisively shaped concert life there from the late 1750s to the 1780s – an outstanding position that was only to be disputed by the works of a certain Joseph Haydn.

Music by Leopold & Wolfgang Amadeus Mozart

Jakob Kajetan Hofbauer, T_ _ t_ _ us
Gabriel Federspieler, Mozart

Upper Austrian Dance Academy
Ilja van den Bosch, concept & choreography

L’Orfeo Barockorchester
Michi Gaigg, conductor

Wolfgang Amadé Mozart, that’s my favourite composer!!! Is he supposed to have been a child prodigy? He is said to have written well over 600 works? That would be one, two, three, oh dear, tens of millions of notes! Something can’t have gone right. This is one of the greatest mysteries in the history of music, I have to solve it! Maybe he simply copied from others … or even from himself? I’ll find out, again from the stage, of course.

Music by Leopold & Wolfgang Amadeus Mozart

Jakob Kajetan Hofbauer, T_ _ t_ _ us
Gabriel Federspieler, Mozart

Upper Austrian Dance Academy
Ilja van den Bosch, concept & choreography

L’Orfeo Barockorchester
Michi Gaigg, conductor

Wolfgang Amadé Mozart, that’s my favourite composer!!! Is he supposed to have been a child prodigy? He is said to have written well over 600 works? That would be one, two, three, oh dear, tens of millions of notes! Something can’t have gone right. This is one of the greatest mysteries in the history of music, I have to solve it! Maybe he simply copied from others … or even from himself? I’ll find out, again from the stage, of course.

Baroque music for wind ensemble by Georg Philipp Telemann, Johann David Heinichen and Georg Friedrich Händel

L’Orfeo Bläserensemble

George Frideric Handel:
Israel in Egypt HWV 54
Oratorio for soli, double choir and orchestra

Martina Daxböck, soprano
Katrin Auzinger, alto
Johannes Bamberger, tenor
Stefan Zenkl, bass
Lukas Kargl, bass

Domkantorei St. Pölten
cappella nova graz
L’Orfeo Barockorchester
Otto Kargl, direction

Since it was founded in 1992, Domkantorei St. Pölten has produced extremely successful renditions of early baroque church music and contemporary choral works. Now this specialist ensemble brings a masterpiece to the Festspielhaus: George Frideric Handel’s oratorio “Israel in Egypt”, whose fundamental message remains particularly relevant today for the Cathedral’s Music Director Otto Kargl: “Every person who is persecuted and oppressed, and whose life has been deprived of human dignity, has a claim to a promised land. That is the great message of this wonderful work.”

Franz Xaver Richter:
Sinfonia in G minor BoeR 29 „Sinfonia con fuga“ for 2 oboes, 2 horns & strings

Giovanni Benedetto Platti:
Concerto in G major for oboe, strings & bc

Franz Xaver Richter:
Sinfonia in B flat major BoeR deest for strings
Sinfonia in F major op. 4 No. 2 BoeR 32 for 2 oboes, 2 horns & strings

Johann Sebastian Bach:
Concerto in D minor BWV 1043 for 2 violins, strings and bc

Franz Xaver Richter:
Sinfonia in G major op. 4 No. 6 BoeR 25 for 2 oboes, 2 horns and strings

Carin van Heerden, oboe
Julia Huber-Warzecha & Martin Jopp, violin
L’Orfeo Barockorchester
Michi Gaigg, conductor

The 18th century was a time of transition (not only in musical terms, but especially pronounced there) – from the Baroque to the Classical period, from contrapuntal-vertical to harmonic-horizontal thinking, from (predominantly) courtly to increasingly bourgeois music, from chamber and church to salon and concert hall. Born in 1709 in the Moravian town of Hollauschau, Franz Xaver Richter was a member of the first generation of the so-called “Mannheim School”, both by birth and by age, but during his artistic career, which he ended as Kapellmeister at Strasbourg Cathedral, he was considered more conservative than progressive. This may have been due to his particular penchant for the elevated art of fugue, which was to manifest itself in a large number of his works, including not only those for the church, but also numerous sonatas, string quartets, solo concertos and over 80 symphonies. That counterpoint – in accordance with the values of the time – was regarded as one of the greatest and most enduring achievements of Western musical art becomes clear at the latest when we take a closer look at some of the compositional details in the works of Haydn, Mozart or Beethoven that were considered particularly elaborate. Richter’s “Sinfonia con Fuga” is in no way inferior to these. Rather, like its sister works, it bears witness to a mastery that is unparalleled in terms of tension and inner drama and here enters into an eloquent dialogue with the gallant figurations and rococo-like ornamentation of a concerto by the Padua-born oboe virtuoso Giovanni Platti. There is also a moment of mutual movement away from and towards each other between the two protagonists of Bach’s famous Double Concerto or the Richter symphonic movements that conclude the two concerto sections and from which the title of this programme with the L’Orfeo Barockorchester is composed.