Season 2014/2015

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Chamber Music

Akademie für Alte Musik Berlin

Georg Kallweit Violin and Direction

Maurice Steger Recorder

Francesco Maria Veracini

Overture No. 6 in G minor

Matthäus Nikolaus Stulick

Concerto in C major for recorder, obbligato bassoon, strings and continuo

Johann Georg Pisendel

Imitation des caractères de la danse

Wilhelm Friedemann Bach

Sinfonia in F major Sinfonia dissonante

Johann Adolf Hasse

Sonata for flute and continuo in B flat major Cantata per flauto

Antonio Vivaldi

Concerto for strings and continuo in E minor RV 134

Georg Philipp Telemann

Concerto for recorder, strings and continuo in F major TWV 51:F1

Johann David Heinichen

Concerto a 7 in G major SeiH 214

Johann Friedrich Fasch

Concerto for recorder, strings and continuo in F major

Dates and Tickets Introduction one hour before the concert begins.

Tue, 04 Nov 2014 8 p.m.

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 Georg Friedrich Telemann, 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.

Maurice Steger

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