Unter Lei­tung des inter­na­tio­nal bekann­ten Vio­li­nis­ten Ryo Ter­aka­do streckt das BBO sei­ne Füh­ler in Rich­tung Klas­sik aus und erkun­det das sym­pho­ni­sche Werk Joseph Haydns. Pro­gramm: Joseph Haydn (1732-1809) Kon­zert für Cem­ba­lo und Orches­ter in D-Dur Hob. XVIII:11 Kon­zert für Vio­li­ne und Orches­ter in G-Dur Hob VIIa: 4 Johann Micha­el Haydn (1737-1806) Flö­ten­quar­tett in D-Dur P117 Joseph Haydn Sin­fo­nie in f-Moll Hob I:49 “La Pas­sio­ne” Lei­tung und Vio­li­ne: Ryo Ter­aka­do

Once again, baro­que works from Latin Ame­ri­ca and Euro­pe meet in this con­cert seri­es. The musi­ci­ans from Bre­men are sup­por­ted by vocal soloists and the excep­tio­nal Vene­zue­lan vio­li­nist Alexis Car­de­nas in this fes­ti­val of rhyth­ms and impro­vi­sa­ti­on. Pro­gram­me Johann Sebas­ti­an Bach (1685-1759) from Par­ti­ta D Minor BWV 1004: Sara­ban­de – Gigue Hen­ry Pur­cell (1659-1695) from „The Fai­ry Queen“: A Bird’s Pre­lude – Cha­conne: Dance for the Chi­ne­se Man and Woman Tra­di­tio­nal (Mexi­ko) La Can­de­la* Aldema­ro Rome­ro (1928-2007) Fuga con Pája­ra Pin­ta bimo­dal y Seis nume­rao Codex „Mar­tí­nez Com­pa­ñón“ (Peru, 18. Jhdt.) Tona­da del Chi­mo* Tona­da „El Tup­pam­a­ro de Caxa­mar­ca“* Tona­da „El Dia­man­te“* Cachua „Den­nos lecen­cia Seño­res“* In coope­ra­ti­on with Los Tem­pe­ra­ment­os Solo­vio­lin: Alexis Car­de­nas *Arran­ge­ments: Nés­tor Fabián Cor­tés Gar­zón

Die Sai­son 21/22 des Bre­mer Barock­or­ches­ters beginnt mit vir­tuo­sen Con­cer­ti Gros­si und pom­pö­sen Ouver­tü­ren aus der Feder eini­ger der größ­ten euro­päi­schen Barock­kom­po­nis­ten. Pro­gram: Georg Phil­ipp Tele­mann (1681-1767) Sona­ta for trumpet, 2 vio­lins, vio­la and bc in D major TWV 44:1 Giu­sep­pe Valen­ti­ni (1681-1753) Con­cer­to for 4 vio­lins, vio­la and bc in A minor Op.7,11 Arcan­ge­lo Corel­li (1653-1713) Con­cer­to Gros­so in D major Op.6,1 Georg Phil­ipp Tele­mann Suite for trumpet, oboes, strings and bc in D major TWV 55:D7 Musi­cal Direc­tion: Nés­tor F. Cor­tés Gar­zón

Gemein­sam mit der fran­zö­si­schen Barock­spe­zia­lis­tin Sté­pha­nie Pau­let prä­sen­tiert das BBO Wer­ke Johann Sebas­ti­an Bachs und sei­ner fran­zö­si­schen Zeit­ge­nos­sen. Pro­gramm: Jean-Féry Rebel (1666-1747) Capri­ce Michel Pign­o­let de Mon­te­c­lair (1667-1737) aus Sére­na­de ou con­certs divi­sé en trois suite 2ème Suite “Airs tendres” Jean-Marie Lec­lair (1697-1764) Kon­zert für Flö­te in C-Dur op. 7,3 Johann Sebas­ti­an Bach (1685-1750) Vio­lin­kon­zert in E-Dur BWV 1042 Bran­den­bur­gi­sches Kon­zert Nr. 4 BWV 1049 Lei­tung und Vio­li­ne: Sté­pha­nie Pau­let

The Bre­mer Barock­or­ches­ter pres­ents a pro­gram based on the work Il Maes­tro di Capel­la by Dome­ni­co Cima­ro­sa (1749-1801), which focu­ses ent­i­re­ly on the capri­ces and dra­ma­tic move­ment of the music from the second half of the 18th cen­tu­ry. The midd­le of this con­cert show­ca­ses an inter­mez­zo with a full orches­tra and a sin­ger. The audi­ence expe­ri­en­ces an orches­tral rehe­ar­sal in which a con­duc­tor tri­es to make the indi­vi­du­al groups of instru­ments sound accord­ing to his wis­hes. The result doesn’t always seem to satisfy him. The Nea­po­li­tan Cima­ro­sa uses this attempt of a rehe­ar­sal as an extre­me­ly enter­tai­ning musi­cal encoun­ter, which at the same time could be view­ed as a finely craf­ted and fun­ny orches­tral per­for­mance. In addi­ti­on to this sta­ged Ita­li­an work, music by C. W. Gluck, one of the most famous ope­ra com­po­sers of his time, is per­for­med, as well as a redis­co­very that is pro­bab­ly less known to […]

The year 2021 and the seventh sea­son of the con­cert seri­es Baro­que & umzu begins with the ques­ti­on: What actual­ly is Baro­que? The tit­le of the pro­gram “Typisch Barock!?” plays with the many pos­si­ble ans­wers to this ques­ti­on and the sub­con­scious expec­ta­ti­ons. The Bre­mer Barock­or­ches­ter ans­wers: diver­si­ty and emo­ti­on. The focus of the Febru­a­ry con­cert is on the Recor­der and the Vio­la da Gam­ba, two genui­ne baro­que instru­ments that are com­ple­te­ly absent from the modern orches­tra. The warm sound no lon­ger sui­ted the sound con­cep­ti­ons of the fol­lowing era, in which the asser­ti­ve­ness of the instru­ments in the gro­wing sym­pho­ny orches­tra beca­me more and more important. In the Baro­que era, howe­ver, the­se two instru­ments were favo­ri­tes of many com­po­sers, pro­fes­sio­nal musi­ci­ans and the ama­teurs at home. For examp­le, G.P. Tele­mann mas­ter­ful­ly uses them in his Con­cer­to for Recor­der and Vio­la da Gam­ba in A minor. What is asto­nis­hing about this […]

We are final­ly back on sta­ge! In the fourth con­cert of 2020, the con­di­ti­ons have chan­ged (the con­cert will take place without a break and the pro­gram will be slight­ly shor­ten­ed), but we are very plea­sed that, even under the dif­fi­cult con­di­ti­ons and on a small sca­le, we will be allo­wed to play for you all again. We look for­ward to working with Alfre­do Ber­nar­di­ni, one of the most well-known inter­na­tio­nal baro­que obo­ists of our time, who will take on the musi­cal direc­tion of this pro­ject. Under the tit­le “Hohes Holz” (after the French name of the instru­ment “Haut-bois”, a wood­wind instru­ment that sounds in the high regis­ter) we go on a jour­ney of dis­co­very into the par­ti­al­ly still unknown sphe­res of vir­tuo­so baro­que oboe music. Pro­gram: Fran­ces­co Maria Ver­a­ci­ni (1690-1768) Over­tu­re No. 1 in B flat major Gio­van­ni Bene­det­to Plat­ti (1697-1763) Con­cer­to for Oboe in G minor Eva­ris­to Dall’Abaco […]

For the first time, the renow­ned recor­der play­er Doro­thee Ober­lin­ger is a guest with the Bre­mer Barock­or­ches­ter. The 2020 Con­cert Seri­es “Barock & Umzu” opens with an unusu­al pro­gram that inclu­des both late baro­que music, such as the famous flu­te con­cert “La Not­te” by Anto­nio Vival­di, and works by G.Ph. Tele­mann, as well as music from the 16th Cen­tu­ry. Tog­e­ther, the soloist and ensem­ble explo­re the world of baro­que flu­te music pre­sen­ting works from all over Euro­pe that seem to con­ti­nu­al­ly sur­pass each other in vir­tuo­si­ty, but also skill­ful­ly show­ca­se the can­ta­bi­le cha­rac­ter of the recor­der. Pro­fes­sor Doro­thee Ober­lin­ger is inter­na­tio­nal­ly known for her lively play­ing at the hig­hest tech­ni­cal level, which repeated­ly ent­i­ces storms of enthu­si­asm among baro­que music lovers and espe­cial­ly among lis­teners who pre­vious­ly knew the recor­der from their school years. On various recor­ders, Ober­lin­ger and the Bre­mer Barock­or­ches­ter demons­tra­te the uni­ma­gin­ab­le pos­si­bi­li­ties in this instru­ment. Pro­gram: […]