Noble Europe
Pearls of the High Baroque
Blow–Purcell–Poglietti–Corrette–Campra
Anna-Maaria Oramo, harpsichord and leader
Finnish Baroque Orchestra
First violin: Irma Niskanen
Second violin: Kaisa Ruotsalainen
Viola: Hanna Pakkala
Cello: Tatu Ahola
Viola da gamba: Johanna Randvere
Violone: Lassi Kari
Harpsichord: Anna-Maaria Oramo
Organ: Laura Ollberg-Ekman
Traverso/recorder: Pauliina Fred, Hanna Haapamäki
Anna-Maaria Oramo, programme planning
The concert programme Noble Europe savours instrumental music from the High Baroque from different parts of Europe. The title comes from André Campra’s opera L’Europe galante (1697), which presents twists of love from four different European countries. The title piece of the concert is an instrumental suite from this opera. Styles from England, Austria, Italy and France twinkle characteristically in the interpretations by the Finnish Baroque Orchestra lead by Anna-Maaria Oramo.
England is represented by John Blow (1648/9–1708) and Henry Purcell (1659–1695). In his twenties, Blow rose to fame especially with his sacred music. The enchanting Chaconne exhibits polyphonic mastery. Purcell was a master of the stage, and the concert programme contains his heartbreaking Pavane (around 1680). In the English theatre, the opera was preceded by the semiopera which made use of spoken lines as well as the mask theatre with its use of mimic art and dance.
From Austria, the Italian composer Alessandro Poglietti (d. 1683) enters the stage. He was possibly born in Tuscany, and he worked as an organist at the court of Leopold I and was knighted for his achievements as a musician. The diverse Balletto is an example of the Baroque dance suite and its way of combining different national styles. From the French influences we progress to Michel Corrette’s (1707–1795) gripping keyboard concerto. Corrette composed during almost his whole long life. He left his mark all over Paris with his work as a teacher, a musician and a researcher.
L’Europe galante was the beginning of the successful stage career of Campra (1660–1744), the music director of Notre Dame. The work is often considered the first ballet opera. In this genre, acts with independent plots offered entertaining dance and vocal numbers with an overarching theme. The contests of love are reflected in the colourful, wild, rousing and delicate sections of the instrumental suite.
Duration: 1 h 30 min (incl. intermission)
FiBO's artistic planner Anthony Marini introduces the concert at the House of Nobility on November 3 from 5 pm to 5.30 pm.