No 36

Mon 16th June 2014 20:00 pm
The true art

– J. S. Bach: Sinfonia G-Dur, aus: Ich liebe den Höchsten von ganzem Gemüte, BWV 174 – G. P. Telemann: Konzert B-Dur, TWV 51: B1 – C. P. E. Bach: Sinfonia C-Dur, Wq 174 – J. S. Bach: Konzert c-Moll, BWV 1060R – G. F. Händel: Concerto grosso c-Moll, HWV 326, op. 6 Nr. 8 – J. S. Bach: Konzert d-Moll, BWV 1052R

Midori Seiler (violin), Tafelmusik Baroque Orchestra (Ensemble in residence), direction: Jeanne Lamon (violin)

Concert introduction: 7.00 pm, Alte Nikolaischule, Aula, Manuel Bärwald (pre-concert talk in German language)

simple div

Ticket prices: € 87,00 | 67,00 | 47,00 | 21,00
reduced: € 77,00 | 57,00 | 37,00 | 16,00

simple div

At Bach’s time, the stars of the stage at the courts and in the civic concert halls were the virtuoso violinists. At that time the violin concerto, the main genre for this kind of virtuosity, was still in its infancy. The compositions by Giuseppe Torelli and Antonio Vivaldi, which today still constitute the principal model for the solo concerto form, were not written until the early eighteenth century. The genre evolved from the concerto grosso with its more numerous, shorter movements, which continued to develop in parallel to the solo concerto until the mideighteenth century, and imitated its tendency towards virtuosity. The present programme takes these related genres and shows the composers’ changing treatment of the solo form: Johann Sebastian Bach and Georg Philipp Telemann were among the first to compose solo concertos in Central Germany, in the period 1710–1720. By contrast, even in 1739 Handel composed twelve concertos, op. 6, still in the much older concerto grosso tradition.