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The Orchestra of the Eighteenth Century is one of the most prominent period instrument orchestras in the world. The musicians play internationally in leading (chamber) music ensembles and meet several times a year for performances of iconic and lesser-known repertoire.
In the early 1980s, the orchestra achieved world fame by performing grand symphonic work on original instruments and in a historically informed manner. A revolution that never really stopped.
But the uniqueness of the orchestra is not only in the sound or the way of playing. Ever since it was founded by Frans Brüggen more than forty years ago, musicians have never taken a score for granted. The approach to the music and how we present it is critical, curious, investigative and progressive. Core values from The Enlightenment that all orchestra members hold in high esteem. That is why every performance is a new challenge and the iconic repertoire remains alive and kicking.
Upcoming projects
Mozart Piano Concertos – ‘the first and the last’
Fortepiano: Dmitry Ablogin
W. A. Mozart K183/173dB, symphony no. 25 in g minor
W. A. Mozart K449, Piano Concerto No. 14 in E-flat major
W. A. Mozart K595, Piano Concerto No. 27 in B-flat major
Details
Ablogin's minimal movements and transparent voicing created a contemplative atmosphere and the pianist drew the audience in with his sophisticated expression and beautiful soft dynamics.
-South Florida Classical Review
In this concert, the Orchestra of the Eighteenth Century brings three pieces by Mozart to the stage, along with up-and-coming talent Dmitry Ablogin on fortepiano. You will hear Symphony No. 25 by a just immature Mozart - he was 17 when he wrote it in 1773. Also, the piano concerto in E-flat major from 1784 and the 27th piano concerto from the year of his death. A cross section from the second half of the life of this musical genius who died too young.
And that time is interesting not only because of Mozart's life. A tremendously turbulent period descended upon Europe in the last decades of the 18th century. The French and Industrial Revolution and abolition of the slave trade (to name just a few major events), and all under the rule of "enlightened monarch" and Mozart supporter Joseph II, emperor of the Holy Roman Empire and ruler of the Habsburg monarchy.
And in this period-the last years of the Enlightenment in Europe; the fall of the old principalities; the cradle of our modern age-Mozart wrote his best and most beautiful works. And all in a crucible of revolutions and uprisings, which is surprisingly similar to our own time.
The voice of the recorder
Recorder: Lucie Horsch
J. S. Bach Concerto BWV 1053 (arr. Frans Brüggen)
A. Vivaldi RV 443, Flautino concerto
A. Vivaldi Aria: ‘Vedrò con mio diletto’, from RV 717, ‘Il Giustino’
A. Vivaldi Concerto in a minor from RV 522, L’Estro Armonico op. 3 nr. 8
R. Namavar New piece, inspired by Vivaldi
J. S. Bach BWV 1041, Concerto in a minor (arr. Lucie Horsch)
Details
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.
Herrenchiemsee Festival
L. Cherubini Chant sur la mort de Haydn (introduction)
J. Haydn Symphony No. 96 D major Hob. I:96 "The Miracle"
L. Van Beethoven Symphony No. 1 C major opus 21
Details
Requiem & Mozart 40
Choir: Cappella Amsterdam
Conductor: Daniel Reuss
Soprano: Mhairi Lawson
Mezzo soprano: Esther Kuiper
Tenor: Guy Cutting
Baritone: Peter Harvey
W.A. Mozart Requiem in d minor (KV 626)
W.A. Mozart Symphony no. 40 in g minor (KV 550)
W.A. Mozart Ave Verum Corpus in D major (KV 618)
Details
A model rendition of Mozart's ever-popular death mass
-TROW
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.
News
From the beginning of March, the orchestra has been on tour nonstop. First with our annual educational project Side by Side, then on to Japan for...
We are extremely proud to be affiliated with Intrada since this year! Intrada is a one-year European development program for musicians that...
Our new CD of CPE Bach's hamburg symphonies was featured in Gramophone magazine's Editor's choice section in January! "Janiczek and his...