Sudden Beauty - Extraordinary music from 17th century Germany and England
This concert presents exquisite instrumental music from 17th century Germany and England, with its characteristic virtuosity and ravishing, audacious harmonies.
Johann Adam Reincken (1643-1722)
Sonata #2 in Bb major, from Hortus Musicus
2 violins, viola da gamba, & continuo
Dietrich Buxtehude (1637-1707)
Sonata #2 in a minor Bux 272, for violin and viola da gamba
Henry Purcell (1659-1695)
Suite Suite in D minor [Z.668} from "A Choice Collection of Lessons for the Harpsichord or Spinnet", London, 1696
Sonata #4 in F+ Z.793 (from 12 Sonatas in 3 parts)
2 violins, viola da gamba, organ
Johann Vierdanck (1605-1646)
Sonata a 2 violini soli
Sonata #3 in a minor Z. 804 (from Sonatas of 4 parts)
French & German instrumental music from the early baroque
Violin sonata in A+
Sonata in D+ for violin and viola da gamba
'La Forqueray' (Troisième Livre, 1758) - harpsichord solo
Sonata in a minor Bux WV272 for violin
and viola da gamba
Elisabeth-Claude Jacquet de la Guerre
Sonata No. 2 in D major (from Sonates pour le violon et pour le clavecin 1707)
Sonnerie de Ste. Genevieve du Mont
Fire and Finesse:
French and Italian music of the early 18th century
with guest harpsichordist Jonathan Oddie
Trio Sonata No. 5 in D Major, 'La Pallas'
'La Bevilacqua', Op.8, No.8
harpsichord solo tba
Sonata No. 5 in D Major
Suonata a solo facto per Monsieur Pisendel in C Major, RV2
Première recréation de musique, Op. 6 in D Major
The early 18th century was witness to a period of profound changes in intellectual and cultural life, literacy, and attitudes towards government and religion; the age of enlightenment brought with it a belief in the power of human reason to investigate and understand nature and human society.
In France, there was a transition from a court culture dominated by Louis XIV, to the new public sphere, where the young nobility, and increasingly affluent and literate bourgeoisie established salons in which to cultivate the work of writers, artists and musicians. While Versailles had previously been the centre of government and culture, musicians commonly kept residences both at Court and in Paris, travelling between the two centres. Increasingly, Italian musicians and composers travelled to Paris, bringing with them the fiery, virtuosic Italian style and forms. The sonata and cantata were two genres which were well-suited to the salon, and French chamber music began to reflect the union of French and Italian styles. Although there was considerable debate about the superiority of French suavity and finesse or the passion and fire of Italian music, inevitably aspects of both were incorporated into each others’ compositions.
“A German Spring”
Heinrich Ignaz Franz von Biber (1644-1704)
Partita VI in D major (from Harmonia Artificiosa-Ariosa)
Johann Philipp Krieger (1649-1725)
Sonata Quarta in F major (from XII Suonate a doi Op.2)
Jacob Riehmann (1680-1726)
Sonata VI Op. 1 for viola da gamba and b.c.
Johann Heinrich Schmelzer (c. 1620-1680)
Sonata X for 2 violins, viola da gamba & b.c.
(from Duodena selectarum sonatarum)
Johann Rosenmüller (1619-1684)
Sonata Sesta à 3
Sonata IX for violin, viola da gamba & b.c.
Johann Jacob Froberger (1616-1667)
Suite IV in F Major
H.I.F. von Biber
Partita V for 2 violins, & b.c. in g minor