{"id":32554,"date":"2024-07-09T14:00:00","date_gmt":"2024-07-09T12:00:00","guid":{"rendered":"https:\/\/operakrolewska.pl\/?post_type=repetoire&p=32554"},"modified":"2024-07-09T23:11:53","modified_gmt":"2024-07-09T21:11:53","slug":"polacca-trionfante-bach-haendel-2","status":"publish","type":"repetoire","link":"https:\/\/operakrolewska.pl\/en\/repetoire\/polacca-trionfante-bach-haendel-2\/","title":{"rendered":"POLACCA TRIONFANTE \/ BACH \u2013 HAENDEL. ARIAS AND ENSEMBLES IN THE POLISH STYLE"},"content":{"rendered":"\n

The concert is part of the Mid Europe Early Music Festival<\/a>.<\/p>\n\n\n\n

<\/div>\n\n\n\n

Johann Adolph Scheibe<\/span>, an 18th-century theorist and composer, listed the Polish style as the fourth – next to Italian, French, and German – of the national European styles, thus indicating its high rank. Propagated especially by Georg Philipp Telemann, it is also reflected in the works of the greatest masters of the Baroque era – Johann Sebastian Bach and Georg Friedrich Haendel.<\/p>\n\n\n\n

In the work of Johann Sebastian Bach, the rhythm of the polonaise is a symbol of power – both earthly and divine. Hence, arias and ensembles from his church cantatas celebrating the might of God are often given the form of the Polish dance. One of the best examples is the solemn chorus Ehre sei dir, Gott, gesungen<\/em> from the famous Weihnachts-Oratorio<\/em>, which will be heard at the end of the concert.<\/p>\n\n\n\n

Georg Friedrich Haendel also saw the potential of the musical idiom from the Polish Commonwealth, as evidenced by the incorporation of a refined polonaise as the fourth movement of the Concerto Grosso<\/em> Op. 6 No.3 (HWV 321). Haendel also used the characteristic rhythm and triple meter of the Polish dance in his operas, in a variety of musical contexts. In the aria of Oronto Ma non s’aspetti<\/em> from Act II of Floridante<\/em>, these typical features emphasize the character’s agitation, in Ariodante<\/em> we find them in the passage expressing despair (Scherza infida<\/em>), while in Partenope<\/em> they resound in a declaration of love (Voglio amare insin ch’io moro<\/em>).<\/p>\n\n\n\n

<\/div>\n\n\n\n

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

Johann Sebastian Bach (1685\u20131750)<\/strong><\/p>\n\n\n\n

Nun komm der Heiden Heiland<\/em>\u00a0from the cantata\u00a0Nun komm der Heiden Heiland<\/em>
Mein Jesus will es tun<\/em> from the cantata Alles nur nach Gottes Willen<\/em> BWV 72
Ja, ja, ich kann die Feinde schlagen<\/em> from the cantata Selig ist der Mann<\/em> BWV 57
Ach, schlage doch bald, selge Stunde<\/em> from the cantata Christus, der ist mein Leben <\/em>BWV 95
Ein ungef\u00e4rbt Gem\u00fcte<\/em> from the cantata Ein ungef\u00e4rbt Gem\u00fcte<\/em> BWV 24
Polonoise-Double<\/em> from Orchestral Suite No.2 in B minor, BWV 1067<\/p>\n\n\n\n

Georg Friedrich Haendel (1685\u20131759)<\/strong><\/p>\n\n\n\n

Polonaise<\/em> from Concerto grosso in E minor op. 6 No 3
Scherza infida<\/em> from the opera Ariodante<\/em>
Ma non s’aspetti<\/em> from the opera Floridante<\/em>
Voglio amare insin ch’io moro<\/em> from the opera Partenope<\/em>
La gloria in nobil alma<\/em> from the opera Partenope<\/em><\/p>\n\n\n\n

Johann Sebastian Bach (1685\u20131750)<\/strong><\/p>\n\n\n\n

Ehre sei dir, Gott, gesungen<\/em> from Weihnachts-Oratorium BWV 248 (SATB)<\/p>\n\n\n\n

<\/div>\n\n\n\n

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

JULITA MIROS\u0141AWSKA<\/strong><\/a> SOPRANO
ANETA \u0141UKASZEWICZ<\/strong><\/a> ALTO
KAROL KOZ\u0141OWSKI<\/strong> TENOR
PAWE\u0141 MICHALCZUK<\/a><\/strong><\/strong> BASS<\/p>\n\n\n\n

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

JAKUB BURZY\u0143SKI<\/strong> CONDUCTOR<\/p>\n\n\n\n

<\/div>\n\n\n\n
\n\n\n\n
Duration: approx. 1 h<\/h5>\n\n\n\n
The seats in the auditorium are not numbered.<\/h5>\n","protected":false},"excerpt":{"rendered":"

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