Early Music 1

Le Concert d’Astrée | Emmanuelle Haïm

Scheidt | Biber | J.S. Bach | Charpentier | Blow, et al.

Tue, 09.04.19.30No. 19104

Franciscan Church

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Easter Festival

06.04.-14.04. 2019

 

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    Emmanuelle Haïm  organ, harpsichord and musical direction

    “Sacro Profanum”
    Instrumental Music for Court and Church

    Scheidt Samuel (1587–1654)
    Pavane, Gaillarde, and Courant dolorosa in A minor from the Ludi Musici
    Anonymus
    Excerpts for the Manuscrit de Kassel: Ballet dansé à Stockholm
    Heinrich Ignaz Franz Biber (1644–1704)
    Sonata XI in C minor from the Fidicinium sacro-profanum
    Johann Rosenmüller (1619–1684)
    Sonata quarta à 3 from the Sonate à 2, 3, 4, 5 stromenti
    Marc-Antoine Charpentier (1643–1704)
    Symphonies pour un reposoir, H. 515
    Francesco Onofrio Manfredini (1684–1762)
    Sinfonia da chiesa a 4, Op. 2, no. 9
    Johann Sebastian Bach (1685–1750)
    Fantasy in C major, BWV 570
    Chorale Prelude Liebster Jesu, wir sind hier, BWV 731
    Chorale Prelude Nun komm, der Heiden Heiland, BWV 659
    Chorale Prelude Liebster Jesu, wir sind hier, BWV 754
    John Blow
    Chaconne in G major à 4

    When the French Maestra Emmanuelle Haïm performs, she radiates a joy and boundless enthusiasm for the music that are spontaneously transmitted to the audience. She has been described as “Ms. Dynamite of the French Baroque,” and that’s quite fitting, because her performances simply catch fire and have explosive power. Over two evenings with her ensemble Le Concert d’Astrée, Emmanuelle Haïm, who made her debut at LUCERNE FESTIVAL leading the Vienna Philharmonic in 2016, will be artist-in-residence at this year’s Easter Festival. Her residency begins with an exploratory journey covering half of Europe – from France via Italy, Germany, and Austria to Sweden and Great Britain – and presents sacred and secular instrumental music that many have likely never heard before. But it is just this that inspires Emmanuelle Haïm: to snatch works from oblivion and to awaken them to life anew. In doing so, she will also show what pleasure she takes from improvising: “The Baroque gives you an incredible freedom as an interpreter,” she explains, comparing making music played by the Concert d’Astrée with a jazz band.

    Le Concert d’Astrée

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    Emmanuelle Haïm

    The French harpsichordist and conductor Emmanuelle Haïm studied at the Conservatoire National Supérieur de Musique in Paris: piano with Yvonne Lefébure, organ with André Isoir, and harpsichord with Kenneth Gilbert and Christophe Rousset. She took five first prizes at the completion of her training. She attracted the attention of William Christie, who invited her to perform as harpsichordist with his ensemble Les Arts Florissants and soon entrusted her with responsibility for concert rehearsals as well. As an assistant to Sir Simon Rattle she acquired additional experience at the podium. In 2000 Haïm founded her own ensemble, Le Concert d’Astrée, with which she presents opera productions and ambitious concert projects. In the 2016-17 season they will perform programs in London, Paris, Zurich, and Brussels including French Baroque arias with Magdalena Kožená, a revival of Handel’s Il trionfo del tempo, and Monte-
    verdi’s Ulisse. As an opera conductor she has also appeared at the Glyndebourne Festival, where she has led Handel’s Theodora and Monteverdi’s Poppea; she was the first woman to conduct at Chicago Lyric Opera, where she led Handel’s Giulio Cesare. Haïm has conducted the Orchestra of the Age of Enlightenment, the Frankfurt Radio Symphony Orchestra, the Concerto Köln, the Los Angeles Philharmonic, and the City of Birmingham Symphony Orchestra. Since her debut with the Berlin Philharmonic in 2008, she has worked on a regular basis with that orchestra. The present all-Handel program is her first project in collaboration with the Vienna Philharmonic. Emmanuelle Haïm is an Honorary Member of the British Royal Academy of Music, as well as an Officier dans l’Ordre des Arts et des Lettres and a Chevalier de la Légion d’honneur. Her recordings have twice been awarded the Victoires de la Musique Classique and have garnered an Echo Klassik Award.

    August 2016

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