{"id":21408,"date":"2021-11-25T13:30:24","date_gmt":"2021-11-25T12:30:24","guid":{"rendered":"https:\/\/operakrolewska.pl\/?post_type=repetoire&p=21408"},"modified":"2022-01-07T17:15:06","modified_gmt":"2022-01-07T16:15:06","slug":"baroque-at-the-royal-castle-concert","status":"publish","type":"repetoire","link":"https:\/\/operakrolewska.pl\/en\/repetoire\/baroque-at-the-royal-castle-concert\/","title":{"rendered":"BAROQUE AT THE ROYAL CASTLE \/ CONCERT"},"content":{"rendered":"

How rich is the musical tradition of European Baroque! In the multitude of musical languages \u200b\u200bof composers from different parts of the continent, one can also see a certain universalism and internal coherence of the artistic achievements of the era.<\/p>\n

The program of the concert opens with the Italian-style concerto grosso<\/em> by Charles Avison from England, who left behind not only an impressive body of compositional work but also a theoretical legacy. Avison is the author of the first musicological critical dissertation in English – An Essay on Musical Expression<\/em>. The text sparked controversy and was widely discussed, especially in the context of its critique of the progressive creative attitude of G.F. Handel. Although history has verified Avison’s theses, it is worth listening to and assessing the differences between the composers for ourselves.<\/p>\n

During the event, German baroque will also be heard in the form of a concerto by Georg Philipp Telemann, who was also not afraid to introduce innovative musical solutions to his works. We will also hear one of the concerts of Antonio Vivaldi – a genius composer and instrumentalist of the Italian Baroque, who also did not shy away from innovation. The French baroque will be represented by Michel Corrette – the author of widely read textbooks for learning to play various instruments – who was able to perfectly convey the joyful mood of the era of Louis XV in his rich body of work.<\/p>\n

The program will end with the third of Haendel’s twelve famous concerti grossi<\/em> from Op. 6. The concerts, written in the fall of 1739, were printed the following year as 12 Grand Concertos<\/em>. The magnitude mentioned in the title does not, however, refer to the volume of the work or the number of instruments, but rather manifests itself in the richness of the sound, the vividness of the melody and the uniqueness of the structure.<\/p>\n

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PROGRAM<\/strong><\/h4>\n

Charles Avison \u2013 Concerto grosso op. 6 No. 3
\nAdagio \u2013 Allegro \u2013 Adagio \u2013 Allegro<\/em><\/span><\/p>\n

Georg Friedrich Haendel \u2013 Oboe concerto in G minor HWV 278
\nGrave \u2013 Allegro \u2013 Sarabande. Largo \u2013 Allegro<\/em><\/span><\/p>\n

Antonio Vivaldi \u2013 Concerto in G minor RV 157
\nAllegro \u2013<\/em> Largo \u2013<\/em> Allegro<\/span><\/p>\n

Georg Philipp Telemann \u2013 Viola concerto in G major TWV 51:G9
\nLargo \u2013 Allegro \u2013 Andante \u2013 Presto<\/em><\/span><\/p>\n

Michel Corrette \u2013 Concerto comique<\/em> No. 25
\nLes Sauvages concerto. Allegro \u2013 Quand on scait aimer et plaire. Andante \u2013 La Fustemberg. Allegro<\/em><\/span><\/p>\n

Georg Friedrich Haendel \u2013 Concerto grosso op. 6 nr 3<\/p>\n

Larghetto – Andante – Allegro – Polonaise – Allegro ma non troppo<\/em><\/span><\/p>\n

 <\/p>\n

PERFORMERS<\/strong><\/h4>\n

AGNIESZKA MAZUR-ZBOROWSKA<\/strong> OBOE
\nMICHA\u0141 PIOTROWSKI<\/strong> VIOLIN
\nNATALIA REICHERT<\/strong> VIOLA<\/p>\n

THE PERIOD INSTRUMENTS ENSEMBLE OF THE POLISH ROYAL OPERA CAPELLA REGIA POLONA<\/strong><\/a><\/p>\n

KRZYSZTOF GARSTKA<\/strong><\/a> HARPSICHORD, CONDUCTOR<\/p>\n

 <\/p>\n

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Duration: approx. 1 h 10 min<\/h5>\n
The seats in the auditorium are not numbered.<\/span><\/h5>\n
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We kindly encourage you to read the rules of participation in cultural events organized by the Polish Royal Opera:<\/p>\n