concertmaster Alexander Janiczek
Cherubini "Chant sur la mort de Haydn" (introduction)
Haydn Symphony no. 96 in d minor Hob. I:96 "The Miracle"
Beethoven Symphony no. 1 in c minor op. 21
J. Haydn Die sieben letzten Worte unseres Erlösers am Kreuze
Choir: Cappella Amsterdam
Conductor: Daniel Reuss
Soprano: Mhairi Lawson
Mezzo soprano: Esther Kuiper
Tenor: Guy Cutting
Baritone: Peter Harvey
W.A. Mozart Symphony no. 40 in g minor (KV 550)
W.A. Mozart Requiem in d minor (KV 626)
W.A. Mozart Ave Verum Corpus in D major (KV 618)
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.
Jean-Guihen Queyras cello
Charlotte Spruit violin
Kristian Bezuidenhout fortepiano
L. Cherubini "Chant sur la mort de Haydn" (introduction)
J. Haydn Cello Concerto in C major
L. van Beethoven Triple Concert
Recorder: Lucie Horsch
J. S. Bach Concerto BWV 1053 (arr. Frans Brüggen)
A. Vivaldi RV 443, Flautino concerto
A. Vivaldi Aria: 'Sovente il sole', from 'Andromeda liberata', RV 117
A. Vivaldi Concerto in a minor from RV 522, L’Estro Armonico op. 3 nr. 8
R. Namavar Fetiapoipoi (world premiere)
J. S. Bach BWV 1041, Concerto in a minor (arr. Lucie Horsch)
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.
Conductor: Benjamin Wenzelberg
Director: Anja Kühnhold
Set & costume design: Anna-Sophia Blersch
And young soloists from DNOA
J. Haydn La fedeltà premiata (Hob. XXVIII/10)
In 2025, the orchestra will once again join forces with the Dutch National Opera Academy to perform an opera by Haydn.
Piano: Olga Pashchenko
Conductor: Vaclav Luks
B. Vanhal Symphony in g minor
J.L. Dusík Piano Concerto in g minor no. 12, op. 49
W.A. Mozart Serenade in c minor for wind octet
W.A. Mozart Symphony no. 38, "the Prague
Violin: Theotime Langois de Swarte
Lolli Violin Concerto No. 7
Adagio Cantabile
W.A. Mozart Violin Concerto No. 3 "Strasbourg"
Joseph Bologne Recitative from L'amant Anonyme
Joseph Bologne Violin Concerto No. 2 in D major
Allegro - Molto Adagio con Sordini - Rondeau
Joseph Bologne Violin Concerto in A major, Op. 7
Adagio
Joseph Bologne Symphony no. 2 from "Deux sinfonies à plusieurs instruments"
Allegro Presto - Andante - Presto
W.A. Mozart Symphony no. 31 "Paris"
In February, the Orchestra of the Eighteenth Century will play two concerts starring Mozart and contemporaries. For number two, the help of amazing young violinist Theotime Langois de Swarte will be flown in, an ambassador for historically informed music and specifically for the composer Joseph Bologne, better known as Chevalier St George. The Volkskrant announced Theotime two years ago as "the great sensation of the baroque violin" and not without reason. His albums are praised to the skies without exception, and last year he won an Edison classical for his Vivaldi album. Tonight you can hear him in repertoire you've probably never heard live before.
Joseph Bologne was a violinist and composer born in Guadeloupe in the 18th century as the illegitimate son of an enslaved and plantation owner. At the age of 10, he came to Paris. His life was a tremendously extraordinary story, but because of his skin color, he fell into oblivion. Bologne was a phenomenal composer and virtuoso violinist, fencing champion (yay!) and lived in the tumultuous Paris of around the French Revolution. He was probably taught by Jean Marie Leclair, and Haydn himself suggested him as conductor for his Paris symphonies. Either way, you will not forget the name Joseph Bologne after tonight.
Piano: Alexander Melnikov
Repertoire: Mendelssohn
Conductor: Jakob Lehmann
Soprano: Katharine Dain
Piano: Dmitry Ablogin
Concertmaster: Cecilia Bernardini
J. Haydn Il ritorno di Tobia (overture)
W.A. Mozart Alcandro, lo confesso
J. Haydn Symphony no. 49 in f minor La Passione
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W.A. Mozart Ch'io mi scordi di te? ...Non temer, amato bene
W.A. Mozart Piano Concerto No. 25 in C major
Haydn and Mozart were both connoisseurs (in music and life) of human passions: elevated, loving, violent, uncertain, spiritual and secular. "Passione" is a journey through the extremes of human feeling. The overture of Haydn's first oratorio, Il ritorno di Tobia, is a brilliant study in contrasts, from somber foreboding to dizzying virtuosity. It ends with a harmonic ambivalence that will raise many an eyebrow, especially at the time.
Mozart's tender expressions in his early concert aria "Alcandro, lo confesso" were his first nods to the soprano Aloysia Weber, with whom he soon fell in love. Haydn's Passion Symphony is a secular work with theatrical origins, which later got its name because of a performance at Passion time shortly after the ban on secular music was lifted. It contrasts the serious and the buffo in the finest Haydn style. Two of Mozart's masterpieces complete the program: his stunning "Ch'io mi scordi di te" for soprano and piano obbligato, which expresses unwavering, loving loyalty in the face of great adversity, and his final Viennese piano concerto in C major: a piece that perfectly balances light and shade, sorrow and joy, and ends in deep, glorious affirmation.
