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Detective Tritone is accompanied by kids, aged 6 and older, on his musical search for traces. (L’Orfeo is very happy to accompany the process with extracts from Mozart’s Zaide).

The beautiful Zaide has disappeared, the last sight of her was with two friends. The bossy Soliman is also trying to find her. But who will find her first? This is also not detective Triton’s only case: Mozart didn’t finish the opera. Will the detective be able to complete this work himself?

Wolfgang Amadeus Mozart
Extracts from the singspiel fragment Zaide K. 344(336b) (1780)
and Symphony No. 33 in B flat major K. 319 (1779)

Jakob Kajetan Hofbauer, Tritonus
Ekaterina Krasko, soprano
Virgil Hartinger, tenor
Stefan Zenkl, bass

L’Orfeo Barockorchester
Michi Gaigg, conductor

Anna Dürrschmid, Malina Meier, Almut Wregg, Concept & stage direction

Detective Tritone is accompanied by kids, aged 6 and older, on his musical search for traces. (L’Orfeo is very happy to accompany the process with extracts from Mozart’s Zaide).

The beautiful Zaide has disappeared, the last sight of her was with two friends. The bossy Soliman is also trying to find her. But who will find her first? This is also not detective Triton’s only case: Mozart didn’t finish the opera. Will the detective be able to complete this work himself?

Wolfgang Amadeus Mozart
Extracts from the singspiel fragment Zaide K. 344(336b) (1780)
and Symphony No. 33 in B flat major K. 319 (1779)

Jakob Kajetan Hofbauer, Tritonus
Ekaterina Krasko, soprano
Virgil Hartinger, tenor
Stefan Zenkl, bass

L’Orfeo Barockorchester
Michi Gaigg, conductor

Anna Dürrschmid, Malina Meier, Almut Wregg, Concept & stage direction

Virtuosic and captivating, a subtle and passionate relishing of all colours, a challenging adventure.
SWR2 about the joint Bach CD by Wave and L’Orfeo

Our programme showcases tried and trusted repertoire, such as the harpsichord concertos by J.S. Bach, arranged here for marimbas, combined with early and contemporary chamber music and very novel sound colours. We can’t wait!

Johann Sebastian Bach (1685-1750)
Harpsichord concertos in A minor BWV 1065 and C major BWV 1061 arranged for 4 marimbas and string orchestra

Kevin Volans (*1949)
“Walking song” (1984) for flute, harpsichord and 2 clappers
(in a version for recorder, 2 marimbas and 2 clappers)

as well as (other) works by Antonio Vivaldi, George Frederic Handel, Johann Sebastian Bach und Gaspard Le Roux.

The Wave Quartet
Christoph Sietzen, Bogdan Bacanu, Emiko Uchiyama, Nico Gerstmayer, marimba

Carin van Heerden, recorder
L’Orfeo Barockorchester

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