BREMER BAROCKORCHESTER
BREMER BAROCK ORCHESTER

#Moving­Sounds

The Bre­men Baro­que Orches­tra opens the con­cert seri­es Barock&Umzu 22/23 with a bang! To the baro­que sounds of Jean-Féry Rebel’s famous suite “Les Elé­ments”, the Unser Lie­ben Frau­en Church will be illu­mi­na­ted with lar­­ge-sca­­le 3-D pro­jec­tions by the revo­lu­tio­na­ry Bie­le­feld agen­cy “The Night Lab”. Learn more about TNL’s fasci­na­ting pro­jects The BBO plays under the direc­tion of French baro­que spe­cia­list Fran­çois Fer­nan­dez and invi­tes the audi­ence with two fasci­na­ting orches­tral works to immer­se them­sel­ves in ano­t­her world with all their sen­ses. Pro­gram: Fran­ces­co Gemi­nia­ni (1687-1762) La Fores­ta Incan­ta­ta J.-M. Lec­lair (1697-1764) Ouver­tu­re op. 13,3 J.-F. Rebel (1666-1747) Les Ele­ments Sym­pho­ny Nou­vel­le Con­cert­mas­ter: Fran­çois Fer­nan­dez Videom­ap­ping: The Night Lab (TNL)

» More

Die Alpen-Con­nec­tion

In this con­cert, the Bre­men Baro­que Orches­tra pres­ents a par­ti­cu­lar­ly exci­ting chap­ter in music histo­ry, name­ly music by Hein­rich Ignaz Franz Biber, who came from Bohe­mia, and his con­tem­pora­ries. North of the Alps, the vio­lin vir­tuo­so was lar­ge­ly respon­si­ble for the fur­ther deve­lo­p­ment of play­ing tech­ni­que on the vio­lin and also for the evo­lu­ti­on of various musi­cal gen­res such as the solo and trio sona­ta; It’s time to take a clo­ser look at this baro­que geni­us. Based on his impres­si­ve cham­ber music collec­tion “Har­mo­nia Arti­fi­cio­sa Ario­sa”, which Biber publis­hed in 1696, the orches­tra pla­ces his music in the con­text of various orches­tral and solo com­po­si­ti­ons from the nati­ons around the Alps. Both the tra­di­ti­on of the gre­at Johann Schmel­zer and the influ­en­ces of the Roman mas­ter Arcan­ge­lo Corel­li play an important role in this con­cert and show the mas­ter­ly art of com­po­si­ti­on at the end of the 17th cen­tu­ry, in […]

» More
»Der Teufelsgeiger«

Bach | Mendels­sohn

Felix Mendels­sohn Bar­thol­dy is con­si­de­red one of the most important pioneers for the renais­sance of the works of Johann Sebas­ti­an Bach in the 19th cen­tu­ry. With a jux­ta­po­si­ti­on of works by the Bach fami­ly and Mendelssohn’s own music, the Bre­men Baro­que Orches­tra addres­ses the ques­ti­on of what con­nec­tions exis­ted bet­ween the gre­at geni­u­ses and how important J.S. Bach’s real­ly was for the young roman­tic com­po­ser. With works by F. Mendels­sohn Bar­thol­dy, J.S. Bach and W.F. Bach Solo vio­lin: N.N.

» More

Il Maes­tro di Cap­pel­la

In this con­cert, the orches­tra explo­res the world of theat­re. Expe­ri­ence an orches­tral rehe­ar­sal humo­rous­ly sta­ged by Dome­ni­co Cima­ro­sa and music from Chris­toph Wil­li­bald Gluck’s ope­ras “Orfeo ed Euri­di­ce” and “Semi­ra­mis” in com­bi­na­ti­on with other orches­tral works from the exci­ting tran­si­tio­nal pha­se bet­ween the Baro­que and Clas­si­cal eras. Do you alrea­dy know Mr. Nic­colò Jom­mel­li…? Pro­gram Franz Ignaz Beck (1734-1809) Sym­pho­ny op. 3,3 Dome­ni­co Cima­ro­sa (1749-1801) Il Maes­tro di Cap­pel­la Inter­mis­si­on Nic­coló Jom­me­li (1714-1774) Sym­pho­ny in E flat major Chris­toph Wil­li­bald Gluck (1714-1787) Orches­tral suite from the ope­ras “Orfeo ed Euri­di­ce” and “Semi­ra­mis” Musi­cal direc­tion: Sté­pha­nie Pau­let and Nés­tor Fabián Cor­tés Gar­zón Bari­to­ne: Jor­ge Alber­to Mar­tí­nez (Vien­na)

» More

#Moving­Sounds

The Bre­men Baro­que Orches­tra opens the con­cert seri­es Barock&Umzu 22/23 with a bang! Reso­na­ting with the baro­que sounds of Jean-Féry Rebel’s famous suite “Les Elé­ments”, the Unser Lie­ben Frau­en Church will be illu­mi­na­ted with lar­­ge-sca­­le 3-D pro­jec­tions by the revo­lu­tio­na­ry Bie­le­feld agen­cy “The Night Lab”. Learn more about TNL’s fasci­na­ting pro­jects The BBO plays under the direc­tion of French baro­que spe­cia­list Fran­çois Fer­nan­dez and invi­tes the audi­ence with two fasci­na­ting orches­tral works to immer­se them­sel­ves in ano­t­her world with all their sen­ses. Pro­gram: Fran­ces­co Gemi­nia­ni (1687-1762) La Fores­ta Incan­ta­ta J.M. Lec­lair (1697-1764) Ouver­tü­re op. 13,3 J.-F. Rebel (1666-1747) Les Ele­ments Sym­pho­ny Nou­vel­le Con­cert­mas­ter: Fran­çois Fer­nan­dez Videom­ap­ping: The Night Lab (TNL)

» More
Event 01

La Pas­sio­ne

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

» More

His­to­ri­as ame­ri­ca­nas

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

» More
Event 01

The fine tas­te

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

» More

Bachs Träu­me

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

» More
Il Maestro di Capella

Il Maes­tro di Capel­la

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 […]

» More
Typisch Barock

Typi­cal Baro­que!?

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 […]

» More
Hohes Holz

High wood

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 […]

» More
Der stürmende Äolus

The stor­ming Aeo­lus

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: […]

» More

    captcha

    By subscribing to the newsletter, you agree to the privacy policy.