With his brilliant, fresh interpretations, Maurice Steger demonstrates that the recorder is by no means an instrument merely for budding music students. As the soloist on this concert, he will play four virtuoso concert compositions by Antonio Vivaldi, Matthäus Nikolaus Stulick, Johann Friedrich Fasch and Johann Adolf Hasse. In addition, the Akademie für Alte Musik will interpret orchestral works by composers associated with the Dresden court of Augustus the Strong.
Overture No. 6 in G minor
Concerto in C major for recorder, obbligato bassoon, strings and continuo
Imitation des caractères de la danse
Sinfonia in F major Sinfonia dissonante
Sonata for flute and continuo in B flat major Cantata per flauto
Concerto for strings and continuo in E minor RV 134
Concerto for flute, two violins, bassoon and continuo in G major La notte RV 104
Concerto a 7 in G major SeiH 214
Concerto for recorder, strings and continuo in F major
20:00 | Kammermusiksaal
15 to 35 €
Maurice Steger, the “world’s leading recorder virtuoso”, as the British Independent has called him, has been invited to join this year’s Akademie für Alte Musik concert in the Chamber Music Hall of the Berlin Philharmonie. Through the technical brilliance of his playing and his extraordinarily fresh interpretations, the Swiss musician has finally liberated the recorder from its reputation as an instrument for music pupils. He will shine as the soloist on this programme in four concertante compositions by Antonio Vivaldi, Matthäus Nikolaus Stulick, Johann Friedrich Fasch and Johann Adolph Hasse.
Besides that, the Akademie für Alte Musik, with Georg Kallweit as concertmaster, will be performing orchestral works by composers associated with the Dresden court of Augustus the Strong. While the architecture of the Dresdner Baroque picked up on influences from Italian and French architecture, composers like Johann Georg Pisendel – a great admirer of Antonio Vivaldi – Francesco Maria Veracini and Johann David Heinichen, once celebrated in Venice as an opera composer, combined compositional traditions of the great music nations France and Italy in their works to form the so-called “mixed style”. Thus it will be a highly varied and interesting programme of late Baroque music with which Maurice Steger and the Akademie für Alte Musik remind us that Dresden had just as strong an influence on the development of music in the German-speaking cultural sphere at the beginning of the 18th century as Vienna did half a century later.