Usage of the word ‘orchestra’ in major European languages narrows the search for the birth of the orchestra to the period between 1650 and 1750. At the beginning of that period ‘orchestra’ was an archaic word that referred to the place where instrumentalists occasionally sat. By the end of the period the word had become familiar in all European languages, taking on its modern meaning earliest in Italian and French, suggesting that the orchestra emerged first in those countries, and arriving slightly later in German and English. Under the direction of violinist Margaret Faultless, one of the world’s leading baroque specialists, the young talented members of EUBO perform a selection of baroque favourites written as the orchestra was developing, works which sound as fresh and as spontaneous today as they undoubtedly did when first heard 300 years ago.
Margaret Faultless, director & violin
G TORELLI (1658-1709) Sinfonia in A TV50
Allegro – Largo – Allegro
JB LULLY (1632-1687) Suite from Atys LWV53
Ouverture – Air pour la Suite de Flore – Entrée des Songes Agreables – Entrée des Songes Funestes – Deuxieme entrée des Songes Funestes – Prelude – Seconde entrée – Premiere entrée des Coribantes
H PURCELL (1659-1695) Suite from The Fairy Queen
First Music [Prelude-Hornpipe] – Second Music [Air-Rondeau] – First Act Tune [Jig] – Act V Prelude – Dance for the Fairies – Symphony While the swans come forward – Third Act Tune [Hornpipe] – Chaconne [Dance for the Chinese man and woman]
A CORELLI (1653-1713) Concerto Grosso in D Op 6 No 1
Largo-Allegro – Largo – Allegro – Largo – Allegro – Allegro
A VIVALDI (1678-1741) Concerto for 2 oboes in d minor RV535
Largo – Allegro – Largo – Allegro molto
G MUFFAT (1653-1704) Sonata II in g minor from Armonico Tributo
Grave – Allegro – Grave-Forte e Allegro-Grave – Aria – Grave – Sarabanda – Grave – Borea
Performances in October and November 2016. Find out more about the dates and concert venues in EUBO’s Calendar.