Il Pomo d’Oro
Performers
Il Pomo d’Oro
Maxim Emelyanychev, Conductor
Program
HAYDN Harpsichord Concerto in D Major, Hob. XVIII: 11
TELEMANN Quatuor No. 6 in E Minor, TWV 43:e4 from Nouveaux quatuors
MICHEL CORRETTE Les sauvages et la furstemberg
J. S. BACH Brandenburg Concerto No. 5
Encore:
HANDEL Passacaille from Trio Sonata in G Major, Op. 5, No, 4
Event Duration
The printed program will last approximately 95 minutes, including one 20-minute intermission.At a Glance
HAYDN Harpsichord Concerto in D Major, Hob. XVIII: 11
Although most concertgoers associate Haydn more readily with symphonies and string quartets than with keyboard music, he wrote dozens of sonatas, concertos, variations, and other works for both harpsichord and piano. His prowess as a keyboard player is showcased in the D-Major Concerto, a product of the years Haydn spent at Prince Nikolaus Esterházy’s country estate.
TELEMANN Quatuor No. 6 in E Minor, TWV 43:e4, from Nouveaux quatuors
Like Bach, Telemann was cosmopolitan in his musical outlook, combining the German love of counterpoint with the French affinity for suave melodies and harmonies and the new Italian taste for brilliant display. Yet Bach’s learned and austere style contrasts with Telemann’s easygoing galanterie, as illustrated by the last of his six “Paris Quartets” for flute, violin, viola da gamba, and continuo.
CORRETTE Concerto comique No. 25 in G Minor, “Les sauvages et la furstemberg”
Michel Corrette started his career in the 1730s as a composer of light music for vaudevilles and opéras comiques. Throughout his life, he continued to incorporate popular tunes in his symphonies, concertos, chamber music, and organ works. The last of his 25 concertos comiques, scored for three melody instruments and continuo, borrows its thematic material from well-known songs of the day.
J. S. BACH Brandenburg Concerto No. 5 in D Major, BWV 1050
Scored for a wide variety of instrumental ensembles, the six Brandenburg Concertos are among Bach’s most perennially popular works. The D-Major Concerto has an especially prominent solo role for the harpsichord and served to show off Bach’s formidable virtuosity at the keyboard.