Performers
Ensemble 1700
Yves Ytier, Violine, Tanz
Axel Wolf, Laute
Johanna Seitz, Barockharfe
Hille Perl, Viola da gamba
Florian Birsak, Cembalo
Dorothee Oberlinger, Blockflöte, Leitung
Programme
Andrea Falconieri
Folias echa para mii Señora Doña Tarolilla De Carallenos (1650))
Diego Ortiz
Recercada primera sobre la Romanesca
Andrea Falconieri
La suave melodia (1650))
Passacaglia (1650))
Ciaccona (1650))
Bernardo Pasquini
Partimento e-moll
Arcangelo Corelli
Sonata F-Dur op. 5/10 (Mit Variationen und Verzierungen von William Babell) (1700))
Johann Sebastian Bach
Sonate Nr. 3 G-Dur BWV 1038 für Flöte, Violine und Basso continuo (?)
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Sonate G-Dur BWV 1021 für Violine und Basso continuo (1720 vor)
Marin Marais
Sonnerie de St. Geneviève du Mont de Paris (1723))
Georg Philipp Telemann
Sonatina a-moll TWV 41/a4
Antonio Vivaldi
Sonate d-moll RV 63 für zwei Violinen und Basso continuo »La Follia« (1705))
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Zugabe:
Tarquinio Merula
Ciacona (1637))
Claudio Monteverdi
Si dolce è'l tormento (1624))
Andrea Falconieri
Corriente dicha la Cuella (1650))
Note
Unterstützt von BUWOG
Medienpartner Ö1 Club und Der Standard
Subscription series
»Resonanzen«-Abo
Festival
Resonanzen »Unterwelten«
Links
http://www.dorotheeoberlinger.de
The queen of the recorder, Dorothee Oberlinger, and her Ensemble 1700 succeed in grasping the »Resonances« motto in a music-immanent way! For of course the basso continuo is the supporting »underworld« of the music from Monteverdi to Bach; that voice from which the entire composition is conceived and with whose notation one was sometimes already completely satisfied. The rest was left to the imagination of the performers. The Italian term »Partimento« stands for the classical figured bass, while »Ostinato« and »Variazione« signal improvisational practices over a constant bass model. Those interested in more depth are also recommended to attend the crash course in thoroughbass given by Dorothee Oberlinger before her concert in the Great Hall!