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Konzerthalle Bamberg: Joseph Keilberth SaalMußstr. 1, Bamberg, Bavaria, 96047, Germany
On Sunday 10 May 2020 at 17:00
Rovigo, Francesco (1542-1597)Canzon à 8
Gabrieli, Giovanni (1554-1612)Canzon Sol Sol La Sol Fa Mi
Essl, JürgenCapriccio sopra la serenità
Bach, Johann Sebastian (1685-1750)The Musical Offering, BWV1079: Ricercar a 6
Ligeti, György (1923-2006)Ommagio a Girolamo Frescobaldi
Corelli, Arcangelo (1653-1713)Sonata da Chiesa in B minor, Op.3 no.4
Bach, Johann Sebastian (1685-1750)Sonata for violin and keyboard no. 3 in E major, BWV1016
Schumann, Robert (1810-1856)Six fugues on B-A-C-H, Op.60 no.2 in B flat major, "Lebhaft"
Schumann, Robert (1810-1856)Six fugues on B-A-C-H Op.60 no.4 in F major, "Langsam"
Cerha, Friedrich (b. 1926)9 Inventions for organ, no.4
Putignano, Biagio (b. 1960)Carteggio spirituale
Mozart, Leopold (1719-1787)Trumpet Concerto in D major
Mozart, Wolfgang Amadeus (1756-1791)Symphony no. 41 in C major, "Jupiter”, K551: Molto allegro (Arr. Hugo Ulrich)
Jeremy JosephOrgan
Pier Damiano PerettiOrgan
Nimrod GuezViola
Markus MayersCello
Georg KekeisenViolone

As Bertolt Brecht once said: “We need to learn from the old how to make the new.” For many composers, the memory of role models and the creative engagement with the works of earlier centuries is core to their work and motivation. Thus Jürgen Essl’s 1996 Capriccio refers to the early polyphony that reached its pinnacle with the Venetian composers of the Renaissance – in the Canzonas of Francesco Rovigo and Giovanni Gabrieli, which will likewise be heard in our organ concert. Furthermore, nearly all subsequent generations of musicians drew on the oeuvres of the baroque masters Corelli and Bach, whose original compositions also feature in our programme. “We are all bunglers compared to him”, Robert Schumann said of Bach, the most universal composer of music history, who was the major inspiration for all of Schumann’s organ works. The expressive “Fugues on B-A-C-H” attest his deep reverence. In his “Omaggio a Girolamo Frescobaldi”, Ligeti adapted ancient formal and compositional principles to the musical language of the 20th century. Friedrich Cerha’s 2011 work is a highly personal transformation – its transparent inventions, each concentrated upon one thematic idea, open up a completely different approach to Bach’s world of works. Our programme’s most recent composition, the richly contrasting “Carteggio spirituale” by Biagio Putignano, is a visionary musical adventure that opens up vast dimensions of sound and space – before a last highlight brings the concert to a close: in the final movement of his “Jupiter Symphony”, Mozart celebrated the fusion of baroque polyphony and the classical symphony.

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