Jacques Hotteterre: Deuxième Suitte [B-flat major] from Pieces a deux dessus Œuvre VI (Paris 1717), with recorders
Préludes from L’Art de Préluder Œuvre VII (Paris 1719)
Jean-Philippe Rameau: Suite e minor from Pièces de clavecin, avec une table pour les agrémens (Paris 1731)
François Couperin: Les Bagatelles from Second livre de diéces de clavecin (Paris 1716)
Marin Marais: Suite c minor from Pièces en trio (Paris 1692) with recorder, oboe and b.c.
Louis-Antoine Dornel: 3 Trios

L’Orfeo Bläserensemble:
Carin van Heerden and Philipp Wagner, oboe & recorder
Jean Christoph Dijoux, harpsichord
Matthias Müller, viola da gamba

Musical ball game on the exquisite central court of Versailles: join us for an exciting match between our ensemble and great masters such as Antoine Dornel, Jacques Hotteterre and others.

“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?

George Frideric Handel: Saul HWV 53
Oratorio in three parts
Text by Charles Jennens and Abraham Cowley

Nuria Rial, soprano
Elisabeth Breuer, soprano
Berenike Tölle, soprano
Franz Vitzthum, alto
Tilman Lichdi, tenor
Christian Immler, bass
Martin Ellrodt, narrator
FAU-Kammerchor
L‘Orfeo Barockorchester
Julian Christoph Tölle, conductor

A firework of Baroque emotions will be unleashed when internationally acclaimed soloists join the ranks of L‘Orfeo Barockorchester and the FAU Kammerchor, conducted by Julian Tölle, to start the Festival Fränkischer Sommer 2021.

Recitation instead of recitative!
Martin Ellrodt grippingly tells a timeless story about power, betrayal, love, delusions of grandeur, but also of hope: Saul, one of the tragic figures from the Old Testament, is perpetrator and victim at the same time. He is Israel’s first king and by insisting on his power he neglects the signs of the times: he finds himself hopelessly entangled in intrigues of murderous jealousy, his own fear of God, feelings of guilt and issues of state policies.

George Frideric Handel: Saul HWV 53
Oratorio in three parts
Text by Charles Jennens and Abraham Cowley

Nuria Rial, soprano
Elisabeth Breuer, soprano
Berenike Tölle, soprano
Franz Vitzthum, alto
Tilman Lichdi, tenor
Christian Immler, bass
Martin Ellrodt, narrator
FAU-Kammerchor
L‘Orfeo Barockorchester
Julian Christoph Tölle, conductor

A firework of Baroque emotions will be unleashed when internationally acclaimed soloists join the ranks of L‘Orfeo Barockorchester and the FAU Kammerchor, conducted by Julian Tölle, to start the Festival Fränkischer Sommer 2021.

Recitation instead of recitative!
Martin Ellrodt grippingly tells a timeless story about power, betrayal, love, delusions of grandeur, but also of hope: Saul, one of the tragic figures from the Old Testament, is perpetrator and victim at the same time. He is Israel’s first king and by insisting on his power he neglects the signs of the times: he finds himself hopelessly entangled in intrigues of murderous jealousy, his own fear of God, feelings of guilt and issues of state policies.