“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

Johann Sebastian Bach: St Matthew’s Passion BWV 244

Collegium Vocale Salzburg and its soloists
Virgil Hartinger, evangelist
Stefan Zenkl, Jesus

L’Orfeo Barockorchester
Michael Schneider, director

A composition which moves and quietens us, leaving us contemplative. We are thrilled to join forces once again with our longstanding Salzburg colleagues.

Johann Sebastian Bach: St Matthew’s Passion BWV 244

Collegium Vocale Salzburg and its soloists
Virgil Hartinger, evangelist
Stefan Zenkl, Jesus

L’Orfeo Barockorchester
Michael Schneider, director

A composition which moves and quietens us, leaving us contemplative. We are thrilled to join forces once again with our longstanding Salzburg colleagues.

“Utopia with Bach”

Johann Sebastian Bach
Brandenburg Concertos No. 1 in F major BWV 1046, No. 4 in G major BWV 1049, No. 5 in D major BWV 1050 & No. 2 in F major BWV 1047

“A utopia with Bach” is presented in Raiding with four of the “Six concerts avec plusieurs instruments”. Bach demanded unprecedented and challenging virtuosic playing from his musicians. The history of the Brandenburg concertos commences in 1721. Back then Bach was chapel master at the court in Köthen and was considering changing his job. His manuscript of the Brandenburg concertos is dedicated to the Margrave Christian Ludwig of Brandenburg who maintained an excellent court orchestra and could therefore be regarded as a “letter” of application. Whether the Margrave took notice or even appreciated these works is not recorded. Until 1850 they remained unused in the court library. Only in the 20th century they became synonymous with the “top hits in Classical music”.

L’Orfeo Barockorchester
Michi Gaigg, director

Dreams come true (for any wind ensemble) if one plays this masterpiece:

Wolfgang Amadeus Mozart
Serenade No. 10 in B flat major K. 361 “Gran Partita”
Texts by Ingeborg Bachmann, Peter Shaffer and from letters by W. A. Mozart
Concert introduction: Albert Hosp

L’Orfeo Bläserensemble
Carin van Heerden, oboe & director