Sunday's Baroque Concert Filled the Rotunda of the Flower Garden
[vc_row][vc_column width=”1/6″][vc_single_image image=”6528″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]The early Sunday evening baroque concert in the Rotunda of the Flower Garden was illuminated by the rays of the sun and the dazzling performances of the performers. The concert with the apt title "Moravian Kiss of Saxony" filled the majestic space of the historic rotunda almost to the last seat.At first glance, this may seem atypical, but it is a characteristic title, chosen for a purely Baroque concert in the authentic setting of the Rotunda in the Flower Garden. In this case, an imaginary kiss is sent to distant Saxony to two musical giants Johann Sebastian Bach (1685 ̶ 1750) and Georg Friedrich Händel (1685 ̶ 1759) by Baroque composers – Georg Muffat (1653 ̶ 1704), Johann Heinrich Schmelzer (ca. 1623–1680) and Heinrichen Ignaz Franz Biber (1644–1704), whose works are kept in the Kroměříž Music Archive. The music archive itself is unique in terms of its integrity and is one of the most important and largest historical music archives of Central European significance.
Already in the opening Bach's Concerto for harpsichord and strings in D minor, BWV 1052, originating from the "Leipzig" period, approximately from the years 1727-1733, not only virtuosity but also faith and humility are reflected. These ideals are then fully developed in vocal-instrumental compositions. The chorale cantata Jesu, der du meine Seele BWV 78, from which the duet with the gavotte-led bass Wir eilen mit schwachen is derived, contains almost everything that the music of the high Baroque brings – affective transformations, meditativeness and joyful anticipation, monumentality and intimacy.
The second kiss goes to Georg Friedrich Händel, a native of Halle, Saxony . Unlike most of his contemporaries, his work has never disappeared from the consciousness of musicians or audiences and has inspired many composers. Under the influence of Italian opera, the three-bar opera seria Serse (Xerxes) HWV 40 was created, premiered in 1738 at the Royal Theatre in London. The opening aria Ombra mai fù is also one of Handel's most famous melodies, and is often heard in an orchestral arrangement under the name Largo.
Compared to these two Baroque giants, the work of the remaining three authors may seem less significant, but the opposite is true. In their time, they were virtuosos and composers active in important musical centers. The composition Sonata Violino Solo, dated 1677, is the only violin sonata by Georg Muffat known to date . The sonata is characterized by a clear motivic work, which is introduced at the beginning and confirmed by a modified da capo closing the composition. Surprising transitions from major to minor keys, which lead to the enharmonic sound of the middle part of the composition, are also developed in the accompanying harpsichord part, where, as an excellent organist, he gave vent to his desire to experiment with the possibilities of keyboard instruments.
Johann Heinrich Schmelzer was also an excellent instrumentalist, he worked as a violinist in the court band at the court of Leopold I and was later appointed imperial court bandmaster. Also thanks to Schmelzer's autographs, the Kroměříž collection is unique and can boast several works that do not appear in other music centers, not even in copies. His Ciaccona in A also reflects the development of violin technique in the Habsburg lands after the main Italian wave.
Heinrich Ignaz Franz Biber was then connected to Kroměříž not only indirectly through preserved works, but also physically. Even though he worked in the service of Bishop Karl of Lichtenstein-Castelkorn only from 1668 to mid-1670, he made an indelible mark on the development of the band. Despite the rift with the bishop after his unexpected departure to Salzburg, he continued to send autographs and copies of his works to the bishop's trumpeter and composer Pavel Vejvanovský (c. 1639–1693). However, he also showed himself to be a master of violin technique and his compositional style is based on a more complex elaboration of inner voices and the technical demands of solo violin parts, and Arien à 4 are from this point of view a true representative of this period in the Central European area.
The following performed at the concert:
Bella Adamová /singing/
Monika Woźniak / harpsichord /
Katerina Knezikova /singing/
Barbara Maria Willi /harpsichord/
Tomas Netopil /violin/
Vaclav Krivanek /violin/
Pavel Nikl /viola/
Michal Raitmajer /cello/
Karel Pevny /double bass/
You can get a closer look at the atmosphere of the entire concert in the photos in our photo gallery.
Texts about the authors were prepared by: Mgr. et Mgr. Kateřina Fajtlová, Ph.D., curator and administrator of the music archive, Olomouc Museum of Art
In the following days, it will also be possible to attend concerts and discussions focused on classical music. A detailed program and the possibility of purchasing and reserving tickets are available at hudebnikromeriz.cz.
More information also at www.academykromeriz.com
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