Opera, concerto, symphony – the six concerts in the series Original Sounds all focus on these three musical genres. As international, diverse and different the ensembles and soloists of the series are, they are united by one ideal: to present the music of the 18th century using historically informed performance practice. Whether presented on original or modern instruments, the aim is always to come as close as possible to the musical ideas of the period, and to present the manifold musical facets of the era which laid the foundations of modern musical aesthetics.
Two ensembles from Berlin
The Akademie für Alte Musik Berlin is one of the ensembles that plays on period instruments or replicas. Their concert in the Chamber Music Hall promises a special instrumental highlight: guest soloist Sergey Malov will perform on the violoncello da spalla, the “shoulder cello” which was popular in the Baroque period. The evening’s programme is devoted to the Baroque concerto in all its forms, from solo concertos to the concerto grosso, with works by Italian, German, English and Dutch composers. The Berliner Barock Solisten on the other hand, the Berliner Philharmoniker’s “special historical unit”, perform early music on modern instruments. For their first appearance this season, they are also focusing on the Baroque Concerto, but with an Italian flavour, with works by Arcangelo Corelli and Antonio Vivaldi. The soloist in Vivaldi’s cycle The Four Seasons is Daishin Kashimoto, first concertmaster of the Berliner Philharmoniker. The second concert of the Berliner Barock Solisten in March 2014 commemorates the 300th anniversary of the birth of Carl Philipp Emanuel Bach. With the Ricercare from the Musical Offering by Carl Philipp Emanuels father, Johann Sebastian, as well as concertos and symphonies by the “birthday boy”, the programme forms a bridge between the contrapuntal style of the Baroque period and the new, more sensitive expression of the early Classical period.
Baroque world theatre
Three concerts bring opera, the entertainment format of the Baroque and Classical periods, into play. And with good reason: after all, the early music ensembles work with outstanding singers in their performances. In addition to Haydn’s cantata Arianna a Naxos, the French-Canadian group Les Violons du Roy and the mezzo-soprano Magdalena Kožená will perform arias from Mozart’s La Clemenza di Tito. The concert also includes two symphonies by these two masters of the First Viennese School. The ensemble Musica Aeterna from Novosibirsk has invited the soprano Anna Prohaska among others for a performance of Purcell’s opera Dido and Aeneas, one of the most important musical theatre works of the Baroque. The Original Sounds concert series opens with a concert by Philippe Jaroussky and the Venice Baroque Orchestra, conducted by Andrea Marcon. The French counter-tenor presents virtuoso arias written by the Neapolitan composer Nicola Porpora for the then much celebrated castrato Farinelli.