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DTSTART;TZID=Europe/Budapest:20251107T193000
DTEND;TZID=Europe/Budapest:20251107T193000
DTSTAMP:20260501T173409
CREATED:20250814T184123Z
LAST-MODIFIED:20251021T185729Z
UID:10000666-1762543800-1762543800@haydneum.com
SUMMARY:5th Haydneum Autumn Festival – Lucie Horsch & Justin Taylor
DESCRIPTION:Georg Philipp TELEMANN (1681-1767):\nSonata in C major\, TWV 41:C5\nFantasia No. 7 ‘a la francese’\, TWV 40:8\nFrançois COUPERIN (1668-1733):\nQuatrième Concert Royal\nJean-Philippe RAMEAU (1683-1764):\n‘Le Rappel des Oiseaux’ from Suite in E minor\, RCT 2\nJoseph-Bodin de BOISMORTIER (1689-1755): Sonata in E minor\, Op. 90 No. 3\n—\nUnico Wilhelm van WASSENAER (1692-1766):\nSonata terza in G minor\nJacob van EYCK (c. 1590-1657):\n‘Boffons’\, from ‘Der Fluyten Lust-Hof’\nDario CASTELLO (1602-1631): Sonata seconda\nJohann Sebastian BACH (1685-1750):\nConcerto in D minor – Andante\, BWV 974 (for solo harpsichord after Alessandro Marcello’s Concerto for oboe in D minor)\nJohann Sebastian BACH:\nSonata in E minor\, BWV 1034 \nDignified\, lyrical\, and vibrant characters\, lively and refined embellishments\, aristocratic dances that seem to transform the patterns of flower beds in parks and the interior decorations of castles into movement\, allegorical scenes\, imaginative play with mimesis\, whimsical emotionality – baroque secular music shaped the surrounding world of the discerning audience into art through such formulas\, into sonatas\, concertos\, and suites. \n	Composers of this era eagerly put everything into string-like\, multi-movement forms\, which\, with their varied tempos and colours\, represented the ordered diversity of phenomena. The sonatas and concertos formulated in a dialogic manner were essentially mirrors of each other: the only difference was that the latter made the shared structure of the two genres dialogical with solo passages. In addition\, dances often appeared in both\, which were arranged into independent series sometimes called suites\, sometimes partitas\, and at other times simply ordres (orders) or\, somewhat unusually\, concerts. The energetic and sophisticated elegance of dance\, the expressive power of movement\, is deeply rooted in French taste. However\, it became a particularly popular form of Baroque artistic representation thanks to Louis XIV\, who was an excellent dancer in his youth and enjoyed performing on stage in various allegorical scenes. On one occasion\, for example\, he appeared in the costume of Apollo to dance himself as the source of light flooding his kingdom.
URL:https://haydneum.com/en/programok/5th-haydneum-autumn-festival-lucie-horsch-justin-taylor/
LOCATION:Károlyi-Csekonics Palace\, Ballroom\, Reviczky utca 6.\, Budapest\, 1088
CATEGORIES:Haydneum Autumn Festival
ATTACH;FMTTYPE=image/jpeg:https://haydneum.com/wp-content/uploads/2025/08/LucieHorsch_SimonFowler2-e1757505559305.jpg
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DTSTART;TZID=Europe/Budapest:20241107T193000
DTEND;TZID=Europe/Budapest:20241107T193000
DTSTAMP:20260501T173409
CREATED:20250813T085917Z
LAST-MODIFIED:20250813T085917Z
UID:10000770-1731007800-1731007800@haydneum.com
SUMMARY:4th Haydneum Autumn Festival – Anna Besson & Jean Rondeau
DESCRIPTION:J. S. BACH:\nSonata for flute and basso continuo in E minor\, BWV 1034\nC. Ph. E. BACH:\nSonata for flute and basso continuo in G major (»Hamburger Sonata«)\, Wq 133 / H 564\nJ. S. BACH:\nPrelude in E-flat-major\, BWV 853 \nJ. S. BACH: (C. Ph. E. BACH?):\nSonata for harpsichord and flute in E-flat major\, BWV 1031 (H 545) \n— \nC. Ph. E. BACH:\nSonata per il flauto traverso in A minor\, Wq 132 / H 562 Poco adagio\nW. F. BACH:\nFlute Sonata in E minor\, BR WFB B 17\nC. Ph. E. BACH:\nTrio Sonata in B minor\, Wq 143 / H 567
URL:https://haydneum.com/en/programok/4th-haydneum-autumn-festival-anna-besson-jean-rondeau/
LOCATION:Károlyi-Csekonics Palace\, Ballroom\, Reviczky utca 6.\, Budapest\, 1088
CATEGORIES:Haydneum Autumn Festival
ATTACH;FMTTYPE=image/jpeg:https://haydneum.com/wp-content/uploads/2025/08/IMG_0134.jpeg_John-Rondeau_c_Clement-Vayssieres-e1756305058363.jpeg
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