Concerts 2016

 

Wed 6.1.2016 06.00 pm
Helsinki Cathedral, Helsinki

J. S. Bach: Christmas Oratorio

Cantatas 4–6

Bach

Cantores Minores
Hedvig Paulig, soprano
Maria Kettunen, alto
Tom Nyman, tenor
Juha Kotilainen, bass
Hannu Norjanen, conductor

The latter part of the Christmas Oratorio, cantatas 4–6, will be heard with same performers as the first part of the oratorio performed before Christmas.

Cantores Minores
 
Sat 30.1.2016 07.00 pm
Art Factory, Porvoo
Sun 31.1.2016 07.00 pm
Musiikkitalo, Helsinki

Swept Away by Paganini

Original tuning brings extra sparkle to violin virtuosity

Paganini–Mendelssohn

Meta4, leaders
Ilya Gringolts, violin

Rarely heard in its original form, Paganini’s first violin concerto comes to life in one of the most dazzling concerts of the beginning of 2016. The soloist’s violin is tuned a half-step higher than the orchestra, so the orchestra plays the concerto in E flat major and the soloist in “D major”.

Ilya Gringolts.
Photo: Tomasz Trzebiatowski.
 
Thu 4.2.2016 12.00 am
Madetojan sali, Oulu

Barokin parhaat

Oulu sinfonia
Suomalaisen barokkiorkesterin muusikoita
Antti Tikkanen, viulu ja liidaus

 
Sun 14.2.2016 07.00 pm
The House of Nobility, Helsinki
Residenssisarja I
Ritarihuoneen residenssiorkesteri

St. Valentine’s Day’s Joyful Baroque Concert

Celebration of strings, trumpets and improvisation!

C. P. E. Bach–Biber–Telemann–Weichlein

Like today, the 17th century Europe was a wild world. The Thirty Years’ War brought destruction and a recession, but after the war the German baroque rose again to the forefront. Beauty, joy and delight echoed throughout the ruins of Europe. In the same way that composers used music to create emotional experiences for the listener, the Finnish Baroque Orchestra creates a unique atmosphere through joyful and passionate playing during a wintry evening in the company of composers such as Biber, Weichlein and Telemann.

Improvisation was an essential skill for musicians during the Baroque era, and the same is still true today. At the end of the evening, the musicians of the Finnish Baroque Orchestra escape the formality of the Baroque courts in favor of the relaxed surroundings of current-day jazz clubs. Come check it out!

Violinists of the Finnish Baroque Orchestra
 
Ritarihuoneen residenssiorkesteri

Mr. Walsh, I suppose?

Foraging through a music publisher’s copper discs from the beginning of the 18th century in London

Corelli–Geminiani–Händel–Mancini–Matteis–D. Purcell

FiBO Players
Hanna Haapamäki, recorder
Jussi Seppänen, cello
Eero Palviainen, lute
Petteri Pitko, harpsichord 

John Walsh was the leading music publisher in London at the beginning of the 18th century. He was a notorious penny-pincher and effective marketer, always striving for more streamlined production and searching for the latest innovations, pre-empting all of his competition. In addition to his own finances, he enriched his home town’s music life in an unprecedented way; he notably included foreign composers who had settled in London in his most important projects. FiBO Players will tear through Walsh’s shelves, with discs even crashing to the ground! But they promise to dust it all off!

Hanna Haapamäki and Petteri Pitko give a pre-concert talk at 18.15–18.45. 

Trio Haapamäki–Palviainen–Seppänen.
Photo: Ville Paul Paasimaa.
 
Sun 6.3.2016 07.00 pm
The House of Nobility, Helsinki
Residenssisarja II
Ritarihuoneen residenssiorkesteri

Majestic motets from the Chapel of the Sun King

Heavenly music from a French composer rarely heard in Finland

Lully

Helsinki Chamber Choir
Nils Schweckendiek, conductor

Grand motets, such as those written by Jean-Baptiste Lully for the chapel of Louis XIV,  formed a central part of the musical life in Europe's most dazzling court. With all of the splendour and theatre afforded by soloists, two choirs and large orchestral forces, Lully evokes emotions from deepest sorrow to unbounded joy.

Finland’s only professional chamber choir, the Helsinki Chamber Choir, will join forces with the Finnish Baroque Orchestra to bring these works to life in a way that will transport the audience to the opulent court of the Sun King.

Helsingin kamarikuoro.
Photo: Markku Pihlaja.
 
Ritarihuoneen residenssiorkesteri

Matteus-passio

Kiirastorstain perinteinen Matteus-passio

Bach

Suomen Laulu
Ursula Langmayr, sopraano
Erica Back, altto
Juho Punkeri, tenori
Markus Suihkonen, basso
Arttu Kataja, Jeesus
Niall Chorell, evankelista
Esko Kallio, johtaja 

Johann Sebastian Bachin Matteus-passio on kuulunut erottamattomana osana Suomen Laulun ja sen yleisön pääsiäiseen yli 90 vuoden ajan. Kiirastorstaina 2016 on luvassa kuoron 105. esitys ja 87. kerta Helsingin Johanneksenkirkossa, jossa tämä Bachin mestariteos soi ensimmäisen kerran vuonna 1921. Suomalainen barokkiorkesteri on mukana jo 16. vuotta. 

Arttu Kataja.
Photo: Jouni Harala.
 
Ritarihuoneen residenssiorkesteri

Matteus-passio

Pitkäperjantain passiokonsertti

Bach

Cantores Minores
Cantores Minores -koulutusryhmien kuoro
Helena Juntunen, sopraano
Monica Groop, altto
Tom Nyman, tenori
Tommi Hakala, basso
Juha Kotilainen, Jeesus
Tuomas Katajala, evankelista
Hannu Norjanen, johtaja 

Cantores Minores esitti J. S. Bachin Johannes-passion ensimmäistä kertaa kokonaisuudessaan jo kolmantena toimintavuotenaan vuonna 1955 silloisen johtajansa Peter Lacovichin johdolla. Bachin passiokonsertista tuli vuotuinen perinne vuonna 1975, kun professori Heinz Hofmann päätti ottaa Johannes-passion pitkäperjantain passiokonsertin vakioteokseksi. Vuonna 1993 professori Christian Hauschild aloitti perinteen, jossa Bachin mestariteokset Johannes- ja Matteus-passio vuorottelevat siten, että Johannes-passio esitetään parittomina ja Matteus-passio parillisina vuosina. 

Cantores Minores
 
Ritarihuoneen residenssiorkesteri

Haydn: Luominen

Hämeenlinnan Luonto ja vesi -teemavuoden musiikillinen tutkielma

Haydn

Hämeenlinnan kamarikuoro
Helena Juntunen, sopraano
Charles Barbier, tenori
Jari Parviainen, basso
Heikki Seppänen, johtaja 

Oratorio Luominen kertoo luomisen aamusta 1. Mooseksen kirjan alkuun pohjautuvassa libretossa. Luominen oli Joseph Haydnin elämässä samassa asemassa kuin h-molli-messu J. S. Bachilla. Oratorio oli määrätietoinen suurtyö, jossa uransa huipulla ollut Haydn käytti kaikki musiikin lahjansa ja taitonsa Jumalan kunniaksi. Haydn kirjoitti yleensä nopeasti, mutta Luomiseen hän käytti poikkeuksellisen kauan, kaksi vuotta. Hän halusi säveltää jotakin, joka kestää aikaa, ja niin hän myös teki. Oratorio kuuluu klassisen musiikin arvostetuimpiin teoksiin. 

Thomas Hardy: Joseph Haydn (1792).
 
Wed 4.5.2016 07.00 pm
Vanaja-sali, Hämeenlinna
Sun 15.5.2016 07.00 pm
The House of Nobility, Helsinki
Residenssisarja III
Tue 7.6.2016 07.00 pm
Suomen lasimuseo, Riihimäki
Riihimäen Kesäkonsertit
Fri 10.6.2016 07.00 pm
St. Henry’s Church, Pyhtää
Lohisoitto

Purcell and Saariaho taken by the Tempest

Shakespeare inspires from age to another

Purcell–Saariaho

Pia Freund, soprano
Gabriel Suovanen, baritone
FiBO Players

William Shakespeare’s magical and thought-provoking the Tempest has already from its own time given a spark for many musical works, and for example at the end of the 17th century there were several free adaptations, where the music had a big operatic role.  The Tempest by Henry Purcell oozing with the theatre atmosphere of the Restoration, which became very popular in 1690s, charms by its beauty.

The song series by Kaija Saariaho wanders through the mental landscape of the main characters of the Tempest and finds the spirit of the play in a shivering way.

Pia Freund (kuva: Heikki Tuuli) ja Gabriel Suovanen (kuva: Ulrika Fåhraeus).
 
Wed 18.5.2016 07.00 pm
Rengon kirkko, Hämeenlinna

Mr. Walsh, I suppose?

Foraging through a music publisher’s copper discs from the beginning of the 18th century in London

Corelli–Geminiani–Händel–Mancini–Matteis–D. Purcell

FiBO Players
Hanna Haapamäki, recorder
Jussi Seppänen, cello
Eero Palviainen, lute
Petteri Pitko, harpsichird

Hämeenlinna with its surroundings is located in the centre of Finland when it comes to the population. There are also rarely widely gorgeous old churches. What could be more suitable than the chamber music played by FiBO Players in the church of Renko, which is a very intimate place and acoustically best for baroque instruments.

The title of the concert refers to John Walsh, the music publisher who lived in the 18th century in London and was a notorious penny-pincher and effective marketer, always striving for more streamlined production and searching for the latest innovations, pre-empting all of his competition. In addition to his own finances, he enriched his home town’s music life in an unprecedented way.

The program is the same as in the concerts with the same name in February.

Hanna Haapamäki and Petteri Pitko give a pre-concert talk at 18.15–18.45. 

Rengon kirkko.
Photo: Vilja Tamminen
 
Sun 17.7.2016 04.00 pm
Kimito Church, Kimito Island
Kimito Island Music Festival

Grande Finale

The finale concert of the Kimito Island Music Festival

J. S. Bach–Fasch–Heinichen–Telemann

Mia Huhta, soprano
Bravade Recorder Quartet

The Finnish Baroque Orchestra, as well as guests from the Kimito Island Music Festival such as the Bravade Recorder Quartet and soprano Mia Huhta, combine forces in the festival’s closing concert. The program brings together the most beautiful orchestra and vocal music of Bach and his contemporaries during a summery afternoon.

Bravade.
Photo: Ville Paul Paasimaa.
 
Sat 30.7.2016 09.00 pm
Vanha kirkko, Isokyrö
Korsholm Music Festival

Greetings from Italy

Baroque music in Korsholm

Dall’Abaco–J. S. Bach–Fasch–Händel–Telemann

Suomalainen barokkiorkesteri

The Italian style, with its melodiousness and dramatic expressive power, had a strong influence on European music beyond the Alps during the first half of the 18th century. Several German composers searched for inspiration and education from Italy, one of the most well-known examples being Georg Friedrich Händel. On the other hand, many Italian musicians also left home to work in the North, and this musical immigration went on to enrich the musical life in Germany. One example of such an Italian immigrant is Evaristo Felice dall’Abaco, who worked in the court of the Emperor Maximilian in Munich.

Musicians of the Finnish Baroque Orchestra. Photo: Jaakko Paarvala.
 
Thu 25.8.2016 10.00 pm
Tuomiokirkko, Espoo
Organ Night and Aria

Light and Shadows

Final concert of the Organ Night and Aria Festival

Händel–Vivaldi–dall’ Abaco–J. S. Bach

Yeree Suh, soprano
Pauliina Fred, traverso
Finnish Baroque Orchestra 

Many of Antonio Vivaldi’s compositions have been overshadowed by his concertos. In this concert we will hear the cantata All'ombra di sospetto, which includes a remarkably beautiful obligato part for flute. Johann Sebastian Bach’s secular cantata Non sa che sia dolore is the composer’s only cantata with Italian lyrics. It is unknown why he chose to use a different language in this cantata. Korean-born Yeree Suh will be the expressive soloist in this rarely-heard cantata.

We will also hear Georg Friedrich Händel’s and Evaristo Felice dall’Abaco’s colourful concerto grossos for orchestra. Händel’s Concerto in A minor was originally written as intermission music for stage plays, while Dall’Abaco creatively combined French dances with Italian bow textures in his Concerto in D major.

Yeree Suh. Photo: Monika Schulz-Fieguth.
 
Sat 1.10.2016 07.00 pm
Paraisten kirkko, Parainen
In the Labyrinths of the Baroque

Brought by the Tempest

Inspired by Shakespeare throughout the ages

Purcell–Saariaho–Locke

Pia Freund, soprano
FiBO Players

The magical and thought-provoking play The Tempest by William Shakespeare has inspired countless musical works. At the end of the 17th century, several suites of incidental music were made for The Tempest, in which the music played a central role (as in an opera).

In this concert, English baroque music and contemporary music meet. Henry Purcell’s version of The Tempest, which reached great success in the 1690s, charms with its beauty, while Purcell’s older colleague Matthew Locke has created lively dances and exciting ambiences for The Tempest. Kaija Saariaho’s vocal suite wanders through the mindsets of the main characters from The Tempest, and strikingly captures the spirit of the play.

This concert, which is FiBO’s most popular touring concert of all time, will be heard next in Paris in February 2017!

Pia Freund. Photo: Antti Hannunniemi.
 
Thu 6.10.2016 07.00 pm
German Church, Helsinki

Back to basics

Basic chamber music repertoire

J. S. Bach–Händel–Telemann–Leclair

FiBO Players:
Petra Aminoff, traverso and recorder
Minna Kangas, violin
Louna Hosia, cello
Annamari Pölhö, harpsichord 

Back to Basics returns to the core of baroque chamber music, where the standard line-up of flute, violin and continuo take on the classics.

Only the ensemble’s favourite works have been included in the program, which will be played in one of the best churches for chamber music, the German Church. In this space, the contact between the audience and the musicians is natural, which is also very essential to the concert-going experience.

Returning to trio sonatas is an attempt to brighten up the relationship between composers such as Bach, Telemann, Händel and Leclair, as well as to maintain the good relations within the quartet and orchestra. 

Photo: Petra Aminoff
 
Sat 8.10.2016 04.00 pm
Tapiolasali, Espoo
Art Tickling

Metro-Grosso

Music connects East and West – the metro follows

Purcell–Händel–Vivaldi–J. S. Bach–Lully–Rameau

Espoo Music Institute
The Helsinki Conservatory of Music
The East Helsinki Music Institute
The Lauttasaari Music Institute
Amore Classico Ensemble
FiBO Collegium

The metro extension connects the east and west Helsinki metropolitan areas both figuratively and literally. In Metro-Grosso, music institutes from along the rail line will meet, and to conclude the day they perform as a 300-person orchestra. There will be participants all the way from Vuosaari Music School in the east, to Espoo Music Institute in the west. In addition to the final concert and the concert in Kamppi Shopping Center at 13 (please note that the time has changed), there will also be performances at several metro stations and in shopping centers. Apart from the music institutes along the rail line, other music institutes will take part in these performances as well. In Munkkivuori Shopping Center, a Shadow Metro-Grosso event will be held. 

The grand Concerto Grosso events of FiBO Collegium, the Finnish Baroque Orchestra’s educational group, have brought together people of different ages and people on different skill levels to enjoy playing music together three times already. Metro-Grosso is the little sister of these projects. This time, the metro acts as the inspiration for the event, which, sooner or later, unites the main participants the East Helsinki Music Institute and Espoo Music Institute. 

 
Sun 16.10.2016 06.00 pm
The House of Nobility, Helsinki
Ritarihuoneen residenssisarjaRitarihuoneen residenssiorkesteri

Death and the Maiden

Schubert playing with light and shadows

Mendelssohn–Tiensuu–Schubert

Meta4
Finnish Baroque Orchestra 

Schubert’s good-humoured and charming music made him a favourite in Vienna, but he also had another side, which he shows through the melancholy and humane depth of his compositions. The nearness of death can be felt very directly at times, such as in the string quartet piece Death and the Maiden, which is often considered to be Schubert’s last will and testament. In this concert, it will be performed as an arrangement for string orchestra.

We will also hear Kvagmaa by Jukka Tiensuu in which he, inspired by early music, experiments with old and new instruments, as well as Mendelssohn’s String Symphony No. 6, a work he wrote in his early teens. References to the composer’s role models Mozart and Bach can be found in the symphony.

Ville Komppa will lead a pre-concert talk at the House of Nobility from 17.15–17.45. 

Suomalainen barokkiorkesteri.
Photo: Jaakko Paarvala.
 
Thu 20.10.2016 07.00 pm
G Livelab, Helsinki

The Family Tree of the Baroque

At the intersection of the Ottoman Empire and Western baroque

Kudsi Erguner, ney
FiBO Players:
Tuuli Lindeberg, soprano
Antti Tikkanen, violin
Mikko Perkola, viola da gamba
Anna-Maaria Oramo, harpsichord
Solmund Nystabakk, lute

Kudsi Erguner, master of the ney flute, and FiBO Players travel to the crossroads of the Ottoman Empire and Western baroque. The first steps of this collaboration will be heard on the Livelab stage!

Kudsi Erguner.
Photo: Maison des Cultures du Monde.
 
Sun 23.10.2016 05.00 pm
Hämeenlinnan kirkko, Hämeenlinnan kirkko

W. A. Mozart: Requiem

The favourite requiem year after year

Mozart

Vanaja Chamber Choir (Ismo Savimäki, choirmaster)
Minna Koskikunnas, soprano
Hanna Vainionpää, mezzosoprano
Jussi Salonen, tenor
Jari Parviainen, bass
Professional musicians from Hämeenlinna
Students from the Sibelius Academy
Finnish Baroque Orchestra
Heikki Seppänen, conductor

Wolfgang Amadeus Mozart’s Requiem may be the most performed requiem of them all. The composer was working on the piece in 1791, the year he died. The composition was left unfinished, but in the end it was completed mainly by Mozart’s former student, Franz Xavier Süssmayr.

The piece was ordered in July 1791 by Count Franz von Walsegg zu Stuppach, who wanted to honour the memory of his wife who had died young. Since copyright was not claimed at that time, the Count was planning to present the piece as his own work, which he also did in the end of 1793. 

Hämeenlinna Church. Photo: Hämeenlinna-Vanaja Parish
 
Fri 4.11.2016 07.00 pm
Helsinki Cathedral, Helsinki

G. F. Händel: Messiah

The power of grandeur

Händel

Cantores Minores
Johanna Rusanen-Kartano, soprano
Teppo Lampela, countertenor
Tuomas Katajala, tenor
Aarne Pelkonen, bass
Finnish Baroque Orchestra
Hannu Norjanen, conductor

In the traditional All Saints’ Eve concert, Cantores Minores will perform Georg Friedrich Händel’s oratorio Messiah for the first time in its 64-year long history, and also as the first boy choir to perform this work in Finland.

Unlike Händel’s operas, many of which are long forgotten, Messiah has remained very popular since it was composed in 1741. Later on, it was arranged to a German libretto, but now the original English version will be performed.

As an interesting comparison to a Messiah of this magnitude, a more intimate version of Messiah will be performed closer to Christmas. 

Aarne Pelkonen.
Photo: Heikki Tuuli.
 
Thu 10.11.2016 07.00 pm
Poltinahon seurakuntatalo, Hämeenlinna
Fri 11.11.2016 07.00 pm
The House of Nobility, Helsinki
Ritarihuoneen residenssisarjaRitarihuoneen residenssiorkesteri
Mon 14.11.2016 08.00 pm
Herkulessaal, München
Musik im Originalklang
Sat 3.12.2016 05.00 pm
Pukkilan kirkko, Pukkila

The Four Seasons

Unleashing Vivaldi’s virtuosic imagination

Vivaldi–Porpora

Sergey Malov, violin, viola da spalla and leading (München: Antti Tikkanen, violin and leading)
FiBO Players

Antonio Vivaldi composed hundreds of concertos, and he is sometimes mocked for only reusing the same elements in his works. In a way this is true, but Vivaldi also developed the Italian concerto form, which became one of the greatest innovations in baroque music. Within this form, however, he stretched the limits and created incredibly imaginative details and ambiences, which are far from “mass production”.

The virtuoso Sergey Malov takes the audience into the secrets of Vivaldi’s music through his two instruments: the viola da spalla charms in the cello concertos, and in The Four Seasons, which frames the programme, it is replaced by the violin.

Ville Komppa leads a pre-concert discussion at the House of Nobility from 18.15–18.45. 

Sergey Malov.
Photo: Julia Wesely.
 
Thu 24.11.2016 07.00 pm
Kuusankosken kirkko, Kuusankoski
Kuusankoski Church Music Week

Try Me, Good King

Henry VIII and his six wives

Larsen–Purcell–Dowland

FiBO Players:
Pia Freund, soprano
Pauliina Fred, traverso and recorder
Minna Kangas and Kaisa Ruotsalainen, violin
Vappu Helasvuo, viola
Louna Hosia, viola da gamba
Anna-Maaria Oramo, harpsichord

Try Me, Good King is a series of five songs whose texts come from the wives of King Henry VIII of England (1491–1547), consisting of their letters to the king or their last words before they were executed. Henry VIII, the second ruler of the Tudor dynasty, is mostly remembered for his six wives. Some of them Henry had decapitated, some died in childbirth and some were just abandoned. The song cycle is like a monodrama dominated by hate and power. The composer, Libby Larsen, is one of the most prized American contemporary composers.

The song cycle will be complemented by works of English composers. We will hear works such as Henry Purcell’s arias for Dido from the opera Dido and Aeneas, and John Dowland songs dripping with melancholy. 

Richard Burchett: Henry VIII's wives (1854–1860).
 
Sun 27.11.2016 05.00 pm
Raatihuone, Hämeenlinna
Tue 29.11.2016 07.00 pm
Kanneltalo, Helsinki

Crazy About You

Encounters through baroque gesture, dance and music

Clérambault–Campra–Lully–Couperin– de la Barre–Händel–Corelli–Pécour

FiBO Players:
Minna Nyberg, soprano and baroque gestures
Jani Sunnarborg, bassoon and baroque dance
Anthony Marini, violin
Louna Hosia, cello
Petteri Pitko, harpsichord 

Gestures, rhetorical components that shape a greater whole and seek to affect emotions and tell a story, were central to baroque music. In order to strengthen the rhetorical meaning of music, singers, for example, were sometimes required to gesture with their hands.

French instrumental music, vocal music, physical stage expression and stage dancing are the focus of this concert. We will concentrate on their use of gestures by comparing how they are used in different genres together and separately. What do they have in common, or how do they differ? How do they melt into each other and how do they complement one another? The main characters are victims of Cupid’s arrows, souls possessed by love.

Minna Nyberg and Petteri Pitko introduce the concert at Hämeenlinna Town Hall at 16.15–16.45 and in Kanneltalo at 18.15–18.45. 

Minna Nyberg and Jani Sunnarborg. Photo: Jonte Knif.
 
Sun 27.11.2016 06.00 pm
Tuomiokirkko, Porvoo
Thu 15.12.2016 07.00 pm
Eino Säisä -sali, Iisalmi
Torstaiklassiset, Iisalmi
Sun 18.12.2016 06.00 pm
The House of Nobility, Helsinki
Ritarihuoneen residenssisarjaRitarihuoneen residenssiorkesteri

G. F. Händel: Messiah

Exploring the core of Messiah

Händel

FiBO Singers:
Tuuli Lindeberg (Iisalmi: Olga Heikkilä), Kajsa Dahlbäck, soprano
Teppo Lampela, Katariina Heikkilä, alto
Simo Mäkinen (Porvoo: Martti Anttila), Juho Punkeri, tenor
Jussi Lehtipuu, Sampo Haapaniemi, bass
FiBO Players:
Antti Tikkanen and Irma Niskanen, violin
Markus Sarantola, viola
Lea Pekkala, cello
Maria Vahervuo, double bass
Miikka Saarinen, Zoltán Kövér, trumpet
Tuija-Maija Nurminen, timpani
Annamari Pölhö / Anna-Maaria Oramo, organ

While Georg Friedrich Händel was still alive (1685-1759), Messiah was performed by a 20- to 30-person choir, a small string ensemble and a modest number of wind instruments. After his death, however, England was overwhelmed by a “Messiah boom”. The original score was carelessly modified and the ensembles grew bigger and bigger. In the 19th century, it was even performed by enormous choirs with 2000 singers.

In this concert, we return to Händel’s original version of Messiah. With a chamber ensemble and a small choir, the soul of the oratorio won’t be hidden by the massiveness of a giant performance.

Ville Komppa will lead a pre-concert discussion at the House of Nobility on December 18th from 17.15–17.45. 

Balthasar Denner: Georg Friedrich Händel (1727).
 
Fri 16.12.2016 07.00 pm
Helsinki Cathedral, Helsinki
Mon 19.12.2016 07.00 pm
Helsinki Cathedral, Helsinki

J. S. Bach: Christmas Oratorio

Cantatas 1–3 + 6

Bach

Cantores Minores
Cantores Minores’ training group choir
Mari Palo, soprano
Maria Kettunen, alto
Tom Nyman, tenor
Juha Kotilainen, bass
Finnish Baroque Orchestra
Hannu Norjanen, conductor 

The Christmas Oratorio is a sacred drama consisting of six cantatas that Bach wrote for Christmas and Epiphany in 1734-1735. The first three cantatas were performed on the first days of Christmas, on December 24th, 25th and 26th, and the three last cantatas after the turn of the year, on January 1st, 2nd and 6th. Nowadays, the cantatas are usually performed as two different concerts. 

Cantores Minores