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JFranz Xaver Richter: Sinfonia IV [d-Moll] aus: Sei Sinfonie a più strumenti opera IIIa
Ludwig August Lebrun: Konzert F-Dur für Oboe und Streicher (Erstveröffentlichung Paris 1777)
Anton Fils: Symphonia II [g-Moll] aus: Six Simphonies à quatre parties obligées avec cors de chasse ad lib. Œuvre IIme (La Chevardière / Huberty, 1760)
Carl Stamitz: Simphonie concertante [Es-Dur] à plusieurs instruments et exécutée au Concert spirituel für Violine, Oboe, Viola und Fagott solo, Streicher und 2 Hörner ad lib. (Heina, 1775)
Ignaz Holzbauer: Sinfonia I [Es-Dur] aus: Six Simphonies à huit partie obligé, deux violons, deux hautbois ou flutes, deux cors alto et basse Œuvre IIIe (Bérault, 1769)

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

We should really be talking about Paris when referring to the Mannheim School. This European musical capital boasted the most innovative publishing scene between the 1750’s and 1780’s and eased the way for the Mannheim masterpieces to be performed and admired in Paris. This Mannheim hype was only disputed by the works of Joseph Haydn.

Franz Xaver Richter: Sinfonia IV [d-Moll] aus: Sei Sinfonie a più strumenti opera IIIa
Ludwig August Lebrun: Konzert F-Dur für Oboe und Streicher (Erstveröffentlichung Paris 1777)
Anton Fils: Symphonia II [g-Moll] aus: Six Simphonies à quatre parties obligées avec cors de chasse ad lib. Œuvre IIme (La Chevardière / Huberty, 1760)
Carl Stamitz: Simphonie concertante [Es-Dur] à plusieurs instruments et exécutée au Concert spirituel für Violine, Oboe, Viola und Fagott solo, Streicher und 2 Hörner ad lib. (Heina, 1775)
Ignaz Holzbauer: Sinfonia I [Es-Dur] aus: Six Simphonies à huit partie obligé, deux violons, deux hautbois ou flutes, deux cors alto et basse Œuvre IIIe (Bérault, 1769)

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

We should really be talking about Paris when referring to the Mannheim School. This European musical capital boasted the most innovative publishing scene between the 1750’s and 1780’s and eased the way for the Mannheim masterpieces to be performed and admired in Paris. This Mannheim hype was only disputed by the works of Joseph Haydn.

Wolfgang Amadeus Mozart:
Zaide (The Seraglio) K. 344

Fragment of a German Singspiel in 2 Acts (1779/80)
Libretto by Johann Andreas Schachtner

Ekaterina Krasko, soprano (Zaide)
Jakob Maximilian Gerbeth, tenor (Gomatz)
Virgil Hartinger, tenor (Sultan)
Stefan Zenkl, bass (Osmin)
Philipp Kranjc, bass (Allazim)
Barbara Novotny, speaker

L’Orfeo Barockorchester
Michi Gaigg, musical direction
Manuela Kloibmüller, direction
Isabelle Reder, stage & costumes

a donauFESTWOCHEN im Strudengau 2023 production

Wolfgang Amadeus Mozart:
Zaide (The Seraglio) K. 344

Fragment of a German Singspiel in 2 Acts (1779/80)
Libretto by Johann Andreas Schachtner

Ekaterina Krasko, soprano (Zaide)
Jakob Maximilian Gerbeth, tenor (Gomatz)
Virgil Hartinger, tenor (Sultan)
Stefan Zenkl, bass (Osmin)
Philipp Kranjc, bass (Allazim)
Barbara Novotny, speaker

L’Orfeo Barockorchester
Michi Gaigg, musical direction
Manuela Kloibmüller, direction
Isabelle Reder, stage & costumes

a donauFESTWOCHEN im Strudengau 2023 production

Wolfgang Amadeus Mozart:
Zaide (The Seraglio) K. 344

Fragment of a German Singspiel in 2 Acts (1779/80)
Libretto by Johann Andreas Schachtner

Ekaterina Krasko, soprano (Zaide)
Jakob Maximilian Geberth, tenor (Gomatz)
Virgil Hartinger, tenor (Sultan)
Stefan Zenkl, bass (Osmin)
Philipp Kranjc, bass (Allazim)
Barbara Novotny, speaker

L’Orfeo Barockorchester
Michi Gaigg, musical direction
Manuela Kloibmüller, direction
Isabelle Reder, stage & costumes

a donauFESTWOCHEN im Strudengau 2023 production

Wolfgang Amadeus Mozart:
Zaide (The Seraglio) K. 344

Fragment of a German Singspiel in 2 Acts (1779/80)
Libretto by Johann Andreas Schachtner

Ekaterina Krasko, soprano (Zaide)
Jakob Maximilian Gerbeth, tenor (Gomatz)
Virgil Hartinger, tenor (Sultan)
Stefan Zenkl, bass (Osmin)
Philipp Kranjc, bass (Allazim)
Barbara Novotny, speaker

L’Orfeo Barockorchester
Michi Gaigg, musical direction
Manuela Kloibmüller, direction
Isabelle Reder, stage & costumes

a donauFESTWOCHEN im Strudengau 2023 production

Wolfgang Amadeus Mozart:
Zaide (The Seraglio) K. 344

Fragment of a German Singspiel in 2 Acts (1779/80)
Libretto by Johann Andreas Schachtner

Ekaterina Krasko, soprano (Zaide)
Jakob Maximilian Gerbeth, tenor (Gomatz)
Virgil Hartinger, tenor (Sultan)
Stefan Zenkl, bass (Osmin)
Philipp Kranjc, bass (Allazim)
Barbara Novotny, speaker

L’Orfeo Barockorchester
Michi Gaigg, musical direction
Manuela Kloibmüller, direction
Isabelle Reder, stage & costumes

a donauFESTWOCHEN im Strudengau 2023 production

Joseph Haydn:

The Creation
Oratorio in three parts Hob. XXI:2 (1798)
Text by Gottfried van Swieten

Christina Gansch, soprano
Johannes Bamberger, tenor
Günter Haumer, bass

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

Jan Dismas Zelenka: Requiem ZWV 46
(composed on the occasion of the funeral celebrations for Friedrich August I of Saxony, 1733)

Johann Sebastian Bach: Cantata „Lass, Fürstin, lass noch einen Strahl“ BWV 198
(composed for the funeral service of the University of Leipzig in honour of Christiane Eberhardine of Brandenburg-Bayreuth on 17 Oct. 1727)

Collegium Vocale Salzburg
L’Orfeo Barockorchester
Michael Schneider, direction

„His highly admired teacher Nikolaus Harnoncourt ignited in him the search for musical truthfulness. He defied many conventions of the time and, with his versatile talents, became a pioneer of historical performance practice in Salzburg and beyond. He set standards as an interpreter – both as a singer and conductor, and as an initiator and visionary. He founded the Salzburger Bachgesellschaft (Salzburg Bach Society), the Salzburg Bach Choir and was instrumental in the creation of the Institute for Early Music and the Alpine Folk Music course at the Mozarteum Salzburg. It is thanks to his initiative that the instrumental and vocal pedagogy course has been preserved throughout Austria. As founder of the Müllner Cantorey and the Collegium Vocale Salzburg, he was also its musical director for many years. As an enthusiastic teacher, the artistic training of future singers and teachers was a great concern to him and he involved his students in the interpretation of early music in his ensembles. Many of his students founded choirs and ensembles themselves and continue to carry his brightly shining torch to this day. Out of deep gratitude for his great achievements for music and culture in Salzburg, Austria and on an international level, we now present this memorial concert with „music of the heart“ by Prof. Dr. Albert Hartinger, performed by long-time musical companions and friends.“ (Virgil Hartinger).

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.