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Baroque Splash!

In September 2012 EUBO performs works by the three giants of the German high baroque: Telemann, Bach and Handel. The concerts entitled as ‘Baroque Splash!’ will take place between 7 and 16 September.

Director & violin Margaret Faultless

Concertmaster Mechthild Karkow


GPh TELEMANN (1681-1767)

Wassermusik Hamburger Ebb und Fluth TWV 55:C3

Ouverture: Hamburger Ebb und Fluth – Sarabande: Die schlaffende Thetis – Bouree: Die erwachende Thetis – Loure: Der verliebte Neptunus – Gavotte: Die spielenden Najaden – Harlequinade: Der scherzende Tritonus – Der sturmende Aeolus – Menuet: Der angenehme Zephir – Gigue: Ebbe und Fluth – Canarie: Die lustigen Bots-Leute

JS BACH (1685-1750)

Orchestral Suite No 4 in D Major BWV1069 (original version)

Ouverture – Bourree I & II – Gavotte – Menuet I & II – Rejouissance

GF HANDEL (1685-1759)

Water Music Suite

Selection of movements from Suite No 1 in F HWV348 & Suite No 3 in G HWV350

Ouverture – [Allegro] – Rigaudon – [Allegro] – Andante – Air – Menuets – Andante – [Gigue] – [Gigue] – Bourrée – Hornpipe


Programme note

When devising a concert programme to include works by the three giants of the German high baroque, one is bound to include some of the finest repertoire of the age and in doing so will create a celebration of the sound world of the grand baroque orchestral style. Telemann’s ‘water’ music, written for the centenary for the Hamburg Admiralty, includes some representational elements but most of the movements are wonderfully standard dance forms of the 18th century with quirky, evocative, rather charming titles. Handel’s Water Music was famously premiered on a barge on the River Thames after King George I had the idea of a watery idiosyncratic venue for an event. The formality of the concert hall was clearly not so firmly established in the 18th century, nor were rigid composing traditions. Many composers re-worked their material for different combinations of instruments and ‘arranged’ pieces for different occasions; there was little or no precedent for playing ‘old’ music so invention was the order of the day. Bach’s fourth orchestral suite began its life as a version for strings and wind – and was only later reworked to include trumpets and timpani, and then yet again adding a choir. Like Telemann and Handel, Bach explores the conventions of the French ouverture during the first movement and then uses many dance forms, all totally familiar to the audience of the day, some conventionally and others with a delicious twist that breaks with convention, but all with the genius that has kept his music alive for the past 300 years.