Exquisite Baroque Pearls by Great Masters
This program’s pivotal figure may have one of the baroque period’s lesser known names, but from an historical perspective his is really one of the most significant: Georg Muffat. Though born in what is now part of France and educated in Paris, Muffat considered himself a German and had lengthy periods of employment in Vienna, Prague and Rome. It became a customary practice for him to weld together stylistic trends and performance customs from all the various traditions he encountered, thereby laying the groundwork for the fusion of styles - German, French and Italian - which would become the common musical language of Telemann, Bach and Handel.
Vivaldi’s remorselessly wild, endlessly unfolding imagination knew no bounds, as amply testified by these two concertos. That this virtuosic concerto for two celli was said to have been written for two amateurs of the female persuasion is still almost inconceivable! Whilst Telemann is perhaps history’s most prolific composers, he still managed to be a passionate botanist, could play pretty much every instrument, wrote poetry and a satirical novel - and not to mention a total of three self-biographies. Furthermore he was music director of the five main churches in the capital Hamburg for 46 years. A true baroque decathlete!
Photo: Mathias Løvgreen Bojesen
G. Muffat: Concerto Grosso, No. 10 in G Major, Perseverantia
G. Ph. Telemann: Concerto for 4 violins in G Major, TWV 40:201
A. Vivaldi: Concerto for 2 violins and celli in G Major
G. Muffat: Concerto Grosso No. 12 in G Major, Propitia Sydera
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G. Ph. Telemann: Concerto for 4 violins in C Major, TWV 40:203
A. Vivaldi: Concerto for 2 celli in G minor, RV531
J. S. Bach: Brandenburg Concerto No. III, BW 1048