The Orchestra of the Eighteenth Century joins forces once again with recorder player and singer Lucie Horsch. A special program on recorder and voice with works by J.S. Bach, Antonio Vivaldi and a brand new work by Reza Namavar. Old music in a new way; new music inspired by old masters.

Bach wrote no solo works for recorder, and yet the evening opens and closes with a concerto by the German grand master. The opening was arranged by founder of the Orchestra of the Eighteenth Century Frans Brüggen; the closing piece Lucie Horsch herself arranged for her instrument. This is how Bach sounded if he did compose for recorder!

The Latin name for recorder "ricordare la voce," literally means "remembering the voice. Lucie takes it to the test. She arranges Bach's concerto in a minor for recorder and brings the aria "Stirb in mir, Welt" back to its vocal roots.

Especially for this program, composer Reza Namavar is writing a new work inspired by Vivaldi's double concerto in a minor. The double violin concerto becomes a violin recorder concerto.

A model rendition of Mozart's ever-popular death mass
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After its resounding success two years ago, the Orchestra of the Eighteenth Century once again joins forces with Cappella Amsterdam for one of the finest works in the classical repertoire. Mozart's Requiem. A stately work about death and mourning, but oh so magnificent and emotional. For forty years this iconic work has been on the orchestra's lectern, and still it does not bore. Every note and bar never ceases to surprise. A true masterpiece.  

In the second half, the orchestra plays another Mozart masterpiece: Symphony No. 40. As with Beethoven's fifth, the whole world knows the first few bars, but this world-famous piece hides many brilliant passages that never surface because it always sticks to the first notes. The Orchestra and Cappella dust it off, making Mozart sound like it's the first time you've heard it.