Georg Philipp Telemann:

Das selige Erwägen des bitteren Leidens und Sterbens Jesu Christi
Passion oratorio for soli, choir und orchestra TWV 5:2 (1720–22, rev. 1728 & 1763)

Maria Ladurner, soprano
Bernhard Berchtold, tenor
Virgil Hartinger, tenor
Markus Volpert, baritone
Stefan Zenkl, baritone
Collegium Vocale Salzburg
L’Orfeo Barockorchester
Michi Gaigg, direction

Georg Philipp Telemann:

Das selige Erwägen des bitteren Leidens und Sterbens Jesu Christi
Passion oratorio for soli, choir und orchestra TWV 5:2 (1720–22, rev. 1728 & 1763)

Maria Ladurner, soprano
Bernhard Berchtold, tenor
Virgil Hartinger, tenor
Markus Volpert, baritone
Stefan Zenkl, baritone
Collegium Vocale Salzburg
L’Orfeo Barockorchester
Michi Gaigg, direction

Georg Philipp Telemann:

Das selige Erwägen des bitteren Leidens und Sterbens Jesu Christi
Passion oratorio for soli, choir und orchestra TWV 5:2 (1720–22, rev. 1728 & 1763)

Maria Ladurner, soprano
Bernhard Berchtold, tenor
Virgil Hartinger, tenor
Markus Volpert, baritone
Stefan Zenkl, baritone
Collegium Vocale Salzburg
L’Orfeo Barockorchester
Michi Gaigg, direction

Johann Sebastian Bach:
Orchestra Suite No. 1 in C major BWV 1066
Cantata „Ich habe genung“ BWV 82a (2nd version for soprano, transverse flute, strings and b.c.)
Concerto in A major for oboe d’amore, strings and b.c., after BWV 1055
Cantata „Ich bin in mir vergnügt“ BWV 204

Dorothee Mields, soprano
Carin van Heerden, oboe d’amore
Sophia Aretz, transverse flute
L’Orfeo Barockorchester
Michi Gaigg, direction

Johann Sebastian Bach:
Orchestra Suite No. 1 in C major BWV 1066
Cantata „Ich habe genung“ BWV 82a (2nd version for soprano, transverse flute, strings and b.c.)
Concerto in A major for oboe d’amore, strings and b.c., after BWV 1055
Cantata „Ich bin in mir vergnügt“ BWV 204

Dorothee Mields, soprano
Carin van Heerden, oboe d’amore
Sophia Aretz, transverse flute
L’Orfeo Barockorchester
Michi Gaigg, direction

Johann Sebastian Bach:
Orchestra Suite No. 1 in C major BWV 1066
Cantata „Ich habe genung“ BWV 82a (2nd version for soprano, transverse flute, strings and b.c.)
Concerto in A major for oboe d’amore, strings and b.c., after BWV 1055
Cantata „Ich bin in mir vergnügt“ BWV 204

Dorothee Mields, soprano
Carin van Heerden, oboe d’amore
Sophia Aretz, transverse flute
L’Orfeo Barockorchester
Michi Gaigg, direction

19:00: Introductory talk with Helmut Schmidinger in the hall

Jean-Féry Rebel: Les Élémens, Simphonie nouvelle
Antonio Vivaldi: Concerto in D major für recorder, strings and b.c. „Il Gardellino“ RV 428, op. 10,3
Jean-Philippe Rameau: Suite from Zaïs, Ballet heroïque (1748)

Carin van Heerden, recorder
L’Orfeo Barockorchester
Michi Gaigg, direction

No, for once when we talk about Creation we don’t mean Joseph Haydn. Instead, this matinee focuses on composers who musically immortalised their fascination with the birth of the universe before Haydn’s time. Once again, you can expect extraordinary dramaturgy from this programme by Michi Gaigg and the L’Orfeo Barockorchester: astonishingly modern sounds can be heard, for example, in the first musical creation story, which seems to anticipate the 20th century, before the transformation from chaos to a regulated world order is complete. But you can also expect some storming, fizzing, crackling and twittering.

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

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.

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

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.