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About Boston Baroque (PDF) ABOUT BOSTON BAROQUE Boston Baroque is the first permanent Baroque orchestra established in North America and, according to Fanfare Magazine, is widely regarded as “one of the world’s premier period- instrument bands.” The ensemble produces lively, emotionally charged, groundbreaking performances of Baroque and Classical works for today’s audiences performed on instruments and using performance techniques that reflect the eras in which the music was composed. Founded in 1973 as “Banchetto Musicale” by Music Director Martin Pearlman, Boston Baroque’s orchestra is composed of some of the finest period-instrument players in the United States, and is frequently joined by the ensemble’s professional chorus and by world- class instrumental and vocal soloists from around the globe. The ensemble has performed at major music centers across the United States and performed recently in Poland for the 2015 Beethoven Festival, with sold-out performances of Monteverdi’s Vespers of 1610 in Warsaw and Handel’s Messiah in Katowice. Boston Baroque reaches an international audience with its twenty-five acclaimed recordings. In 2012, the ensemble became the first American orchestra to record with the highly- regarded UK audiophile label Linn Records, and its release of The Creation received great critical acclaim. In April 2014, the orchestra recorded Monteverdi’s rarely performed opera, Il Ritorno d’Ulisse in patria, which was released on Linn Records and received two nominations at the 2016 GRAMMY® Awards. Boston Baroque's recordings have received six GRAMMY® Award Nominations: its 1992 release of Handel's Messiah, 1998 release of Monteverdi's Vespers of 1610, 2000 release of Bach's Mass in B Minor, 2015 release of Monteverdi's Il Ritorno d'Ulisse in patria, and 2018 release of Biber's The Mystery Sonatas. .
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  • 95.3 Fm 95.3 Fm
    October/NovemberMarch/April 2013 2017 VolumeVolume 41, 46, No. No. 3 1 !"#$%&'95.3 FM Brahms: String Sextet No. 2 in G, Op. 36; Marlboro Ensemble Saeverud: Symphony No. 9, Op. 45; Dreier, Royal Philharmonic WHRB Orchestra (Norwegian Composers) Mozart: Clarinet Quintet in A, K. 581; Klöcker, Leopold Quartet 95.3 FM Gombert: Missa Tempore paschali; Brown, Henry’s Eight Nielsen: Serenata in vano for Clarinet,Bassoon,Horn, Cello, and October-November, 2017 Double Bass; Brynildsen, Hannevold, Olsen, Guenther, Eide Pokorny: Concerto for Two Horns, Strings, and Two Flutes in F; Baumann, Kohler, Schröder, Concerto Amsterdam (Acanta) Barrios-Mangoré: Cueca, Aire de Zamba, Aconquija, Maxixa, Sunday, October 1 for Guitar; Williams (Columbia LP) 7:00 am BLUES HANGOVER Liszt: Grande Fantaisie symphonique on Themes from 11:00 am MEMORIAL CHURCH SERVICE Berlioz’s Lélio, for Piano and Orchestra, S. 120; Howard, Preacher: Professor Jonathan L. Walton, Plummer Professor Rickenbacher, Budapest Symphony Orchestra (Hyperion) of Christian Morals and Pusey Minister in The Memorial 6:00 pm MUSIC OF THE SOVIET UNION Church,. Music includes Kodály’s Missa brevis and Mozart’s The Eve of the Revolution. Ave verum corpus, K. 618. Scriabin: Sonata No. 7, Op. 64, “White Mass” and Sonata No. 9, 12:30 pm AS WE KNOW IT Op. 68, “Black Mass”; Hamelin (Hyperion) 1:00 pm CRIMSON SPORTSTALK Glazounov: Piano Concerto No. 2 in B, Op. 100; Ponti, Landau, 2:00 pm SUNDAY SERENADE Westphalian Orchestra of Recklinghausen (Turnabout LP) 6:00 pm HISTORIC PERFORMANCES Rachmaninoff: Vespers, Op. 37; Roudenko, Russian Chamber Prokofiev: Violin Concerto No. 2 in g, Op.
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  • Welcome to Boston Baroque
    WELCOME TO BOSTON BAROQUE To Our Community: Thank you. Just two simple words—but so important, so much a part of why we are able to gather today to enjoy Boston Baroque’s return to in-person performance. In a year in which the unknowns outnumbered the knowns, you trusted Boston Baroque’s commitment: to our musicians, to our ability to maintain a vibrant musical presence during a time when in-person performance was impossible, and to you, the members of our audience who so generously support us. Whether you are a long-time subscriber or contributor or new to Boston Baroque, your commitment to our work enabled us to thrive in the most challenging year we have ever faced as an DAVID FRIEND organization. CHAIRMAN, BOARD OF DIRECTORS We are grateful to you, for it is largely because of you that we are able to be here together in this beautiful place, preparing to listen to beautiful music in person for the first time in over a year. Our 2021-2022 season includes both virtual and in-person performances and a roster of artists that will light up our stage! We are truly excited for what Boston Baroque’s future holds, a future that celebrates both the changing concert experience and the tradition of excellence that is the hallmark of every Boston Baroque performance. Again, thank you for standing by Boston Baroque through the past year, for embracing our programming, for sharing your kind words with us, and JENNIFER RITVO HUGHES for your gifts. We are honored to end our 2020-2021 season with you today, EXECUTIVE DIRECTOR and we look forward to celebrating many a season to come with you, both virtually and in person.
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  • Download Program
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  • Boston Baroque to Re-Imagine 20-21 Concert Season, Following News That Jordan Hall Will Close to the Public Until June of 2021
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  • Christmas in Medieval England Friday, December 18 & Saturday, December 19, 2015 First Church in Cambridge, Congregational Sunday, December 20, 2015 S
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  • St John Smaller For
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  • Boston Baroque's Reimagined 2020-2021 Season a POP-UP
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  • OWEN WILLETTS, Contratenor
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  • Boston Baroque Notes
    Members of Boston Baroque An Afternoon of Chamber Music This afternoon’s program of Baroque chamber music, designed by members of Boston Baroque especially for this Williams College appearance to complement the course “Music in History: Antiquity to 1750,” unfolds a panorama of chamber music-making across Europe during the 17th and early 18th centuries. The newly-born genre of the “sonata”, which first emerged in early 17th-century Italy, forms the backbone of the program. In the Baroque period the term “sonata” (from sonare – “to sound”, as opposed to cantare – “to sing”, from which the term “cantata” derives) generally designated multi-movement works for one or two melody instruments (usually violins, though winds were possible) supported by a continuo group (usually consisting of harpsichord or organ to fill in the harmonies, as well as a low string or wind to reinforce the bass line and occasionally contribute to the counterpoint). The first four pieces on the program trace a century’s worth of attention to this genre through the lens of four national styles – Italian, Austrian, French, and English. After a brief detour into the world of Italian variations based on the repeating harmonic patterns bergamasca and ciacona, the program concludes with two more sonatas, one a solo sonata and the other a trio sonata, representing the heights of the genre in the German-speaking lands at the end of the Baroque era. ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ Dario Castello, a composer and wind player active in Venice in the first half of the 17th-century, contributed substantially to the early formation of the genre with two collections of sonatas, totaling 29 works in all.
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  • Boston Baroque Announces Third Pop-Up Livestream Concert Featuring Soprano Amanda Forsythe Performing Handel’S Gloria
    Media Contact: Emily Kirk Weddle, Boston Baroque [email protected] 617-987-8600 For Immediate Release: Boston Baroque announces third pop-up livestream concert featuring soprano Amanda Forsythe performing Handel’s Gloria Program also includes works by Bach and Corelli with soloists Christina Day Martinson and Sarah Darling BOSTON, MA—Boston Baroque ushers in spring with a new pop-up concert livestreamed for audiences featuring Handel’s Gloria and J.S. Bach’s Concert for Two Violins. The program will take place on Saturday, April 10th at 7pm live from Fraser Studio at GBH in Boston. Boston Baroque’s renowned orchestra will perform the hour-long program with soloists soprano Amanda Forsythe, violinist Sarah Darling, and Boston Baroque concertmaster and recent GRAMMY®-nominee Christina Day Martinson. The program will begin with Arcangelo Corelli’s delightful Concerto Grosso Op. 6, No. 10 in C Major followed by soprano Amanda Forsythe performing select arias from George Frideric Handel’s Partenope, first premiered in 1730. Boston Baroque last performed the comic opera in full in 2012 with Forsythe in the titular role. Concertmaster Christina Day Martinson and principal violinist Sarah Darling will then take the virtual stage to perform Johann Sebastian Bach’s Concerto for Two Violins in D minor, BWV 1043. The two violins communicate throughout the work, with a subtle yet expressive interplay between the soloists. Bach premiered the work during a concert series with Collegium Musicum in Leipzig also around 1730. It is Bach’s only concerto for two violins. The program will conclude with Handel’s sparkling Gloria featuring soprano soloist Amanda Forsythe.
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  • Handel's Messiah for Our Time
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