Philharmonic Festival of Baroque Music

5th Philharmonic Festival of Baroque Music
Slovenian Philharmonic, Marjan Kozina Hall

Baroque 1
Tartini and the Venetians
9 January 2020, at 7.30 pm

Slovenian Philharmonic Orchestra
Miran Kolbl, musical direction and solo violin
Sorin Crudu, oboe
Lorenzo Contaldo, bassoon

Tomaso Albinoni: Concerto No. 2 in G minor, Op. 10
Alessandro Marcello: Oboe Concerto in D minor
Tomaso Albinoni: Sinfonia a quattro in B flat major, T.Si 6
Antonio Vivaldi: Bassoon Concerto in G major, RV 493
Antonio Vivaldi: Concerto for Strings in C major, RV 112
***
Baldassare Galuppi: Concerto a quattro No. 1 in G minor
Giuseppe Tartini: Violin Concerto in D minor
Giuseppe Tartini: Sinfonia in D major

The first concert of the 5th Philharmonic Festival of Baroque Music will feature works by Giuseppe Tartini and his Venetian colleagues Albinoni, Vivaldi, Galuppi and Marcello. As well as ensemble concertos and string sinfonias, the programme includes three solo concertos. It is not known which virtuoso encouraged Vivaldi to write his 39 bassoon concertos, more than he wrote for any other instrument except the violin. Although the bassoon is not found in Vivaldi’s compositions for the ensemble of the Venetian orphanage for which he composed almost all his life, the composer was apparently particularly fond of the instrument. Even before its publication in 1716, Alessandro Marcello’s popular oboe concerto attracted the attention of Johann Sebastian Bach and is among his transcriptions for harpsichord. On the 250th anniversary of Giuseppe Tartini’s death, we will hear the original version of his famous Violin Concerto in D minor. The orchestra will be led by concertmaster Miran Kolbl and the soloists will include members of the orchestra, oboist Sorin Crudu and bassoonist Lorenzo Contaldo.

 

Baroque 2
Bach and Telemann
17 January 2020, at 7.30 pm

Slovenian Philharmonic Orchestra
Ana Dolžan, musical direction
Melina Todorovska, oboe d’amore
Aleš Kacjan, flute
Rok Zgonc, violin
Petra Greblo, cello

Georg Philipp Telemann: Concerto for Three Trumpets, Two Oboes, Timpani and Strings in D major, TWV 54:D3
Georg Philipp Telemann: Concerto for Flute, Violin and Cello in A major, TWV 53:A2
***
Johann Sebastian Bach: Concerto for Oboe d’amore in A major, BWV 1055r
Georg Philipp Telemann: Water Music “Hamburger Ebb und Fluth”, TWV 55:C3

In his own time, Georg Philipp Telemann was regarded as the central figure of German musical life. In 1722, he was offered the position of cantor of the St Thomas School in Leipzig. Johann Sebastian Bach was in fact the third choice for the job, and only secured the position after the employers of his two competitors raised their salaries in order to retain their services. Despite this episode, the two musicians remained good friends: Telemann was the godfather of Bach’s son Carl Philipp Emanuel, who took over his position in Hamburg after Telemann’s death. Early in his career, Johann Sebastian wrote an arrangement of one of Telemann’s concertos, and he later followed his colleague’s work through print editions. The second concert of the 5th Philharmonic Festival of Baroque Music will feature Bach’s reconstructed Concerto for Oboe d’amore and two of Telemann’s concerti grossi for ensembles with trumpets, oboes, timpani, flute and strings. Telemann wrote his “Water Music”, a programmatic suite entitled Hamburger Ebb und Fluth (Hamburg Ebb and Flood), in 1723 to mark the centennial anniversary of the Hamburg Admiralty. It illustrates mythological aquatic creatures, natural phenomena such as tides and various winds, as well as merry sailors.

 

Baroque 3
Handel and the English
25 January 2020, at 11.00 am

Slovenian Philharmonic Orchestra
Ana Dolžan, violin and musical direction

Thomas Arne: Overture from the opera The Judgement of Paris
Charles Avison: Concerto grosso No. 9 in C major (after the sonatas of D. Scarlatti)
Henry Purcell: Suite in C major for the Duke of Gloucester, Z 324
Maurice Greene: Overture No. 1 in D major
Georg Friedrich Handel: Concerto grosso No. 7 in B flat major, Op. 6, HWV 325
William Boyce: Sinfonia No. 2 in A major

Although Handel’s music is well known and relatively often performed, works by his English contemporaries and successors, such as Arne, Avison, Greene and Boyce, are very rarely found on concert programmes. Thomas Arne established himself primarily as a composer of music for the theatre, and the January matinee will begin with the overture to his opera The Judgement of Paris. Charles Avison is best known today for his orchestral arrangements of the temperamental harpsichord sonatas by Domenico Scarlatti, creating brilliant concerti grossi for strings from Scarlatti’s short movements. The programme also includes a suite with solo trumpet from an occasional ode by Henry Purcell, an orchestral overture by Maurice Greene, and a sinfonia by his pupil William Boyce, who is regarded as the greatest English composer of the eighteenth century alongside Handel and Arne. Handel’s cycle of twelve Concerti Grossi Op. 6 has a rather different history than the composer’s other published collections. He wrote the compositions in September and October 1739 at his London residence and, unlike his other collections, carefully planned the design of the entire cycle. He was probably trying to approach the most famous concerti grossi of all time, those of Arcangelo Corelli, which were also published as the composer’s opus 6.

 

Baroque 4
Today and in the Past
5 February 2020, at 7.30 pm
(Vocal 5)

Slovenian Philharmonic Choir
Marko Ozbič, conductor
Baroque instrumental ensemble

Morton Feldman: Rothko Chapel
Marko Ozbič: Izida’s lullaby*
Claudio Monteverdi: Psalms from Vespro della Beata Vergine, Selva morale e spirituale and Messa e Salmi

The programme brings two sonic worlds, between which music passed an extraordinarily rich four centuries: a meeting between modernity and the first decades of the seventeenth century, which were also brimming with the new. There will be an encounter between the post-Cagean sound images of Morton Feldman with their sonic planes and timbres with a hint of minimalism, a new score by guest conductor and composer Marko Ozbič, and music that was differently devised and developed some 400 years ago by Claudio Monteverdi, the greatest innovator of the time. We will engage with Monteverdi’s oeuvre, which served as an important foundation for the later development of the Baroque, from two perspectives: from a few years after Orfeo, the first opera, when he composed the magnificent Vespro della Beata Vergine, and from the period of the psalm compositions written during the last years of the composer’s life and published just two years before his death.

*new work

 

Tickets: Slovenian Philharmonic Box Office, Kongresni trg 10, Ljubljana
Weekdays from 11.00am to 1.00 pm, and from 3.00 pm to 5.00 pm, and one hour before the concert
T +386 1 24 10 800, E info@filharmonija.si
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