Sunday SUN 29 January 2023
Sunday SUN 29 January 2023
Dorothee Oberlinger

Dorothee Oberlinger © SWR

Resonanzen: Ensemble 1700 / Oberlinger

»Ostinati · Partimenti · Variazioni«

Sunday 22 January 2023



Ensemble 1700

Yves Ytier, Violine, Tanz

Axel Wolf, Laute

Johanna Seitz, Barockharfe

Florian Birsak, Cembalo

Hille Perl, Viola da gamba

Dorothee Oberlinger, Blockflöte, Leitung


Andrea Falconieri

Folias echa para mii Señora Doña Tarolilla De Carallenos (1650))

Diego Ortiz

Recercada primera sobre la Romanesca

Andrea Falconieri

La suave melodia (1650))

Passacaglio (1650))

Ciaccona (1650))

Bernardo Pasquini

Partimento e-moll

Arcangelo Corelli

Sonata F-Dur op. 5/10 mit Variationen und Verzierungen von William Babell, Pietro Castrucci und Michel Blavet (1700))

Johann Sebastian Bach

Sonate Nr. 3 G-Dur BWV 1038 für Flöte, Violine und Basso continuo (?)


Sonate G-Dur BWV 1021 für Violine und Basso continuo (1720 vor)

Marin Marais

La Sonnerie de St. Geneviève du Mont de Paris (1723))

Georg Philipp Telemann

Sonatina a-moll TWV 41/a4

Antonio Vivaldi

Sonate d-moll RV 63 für zwei Violinen und Basso continuo »La Follia« (1705))



Tarquinio Merula

Ciacona (1637))

Claudio Monteverdi

Si dolce è'l tormento (1624))

Andrea Falconieri

Corriente dicha la Cuella (1650))


Unterstützt von BUWOG
Medienpartner Ö1 Club und Der Standard

Subscription series »Resonanzen«-Abo

Festival Resonanzen »Unterwelten«

Links http://www.dorotheeoberlinger.de

Presented by Wiener Konzerthausgesellschaft

»Ostinati · Partimenti · Variazioni«

The queen of the recorder, Dorothee Oberlinger, and her Ensemble 1700 succeed in grasping the »Resonances« motto in a music-immanent way! For of course the basso continuo is the supporting »underworld« of the music from Monteverdi to Bach; that voice from which the entire composition is conceived and with whose notation one was sometimes already completely satisfied. The rest was left to the imagination of the performers. The Italian term »Partimento« stands for the classical figured bass, while »Ostinato« and »Variazione« signal improvisational practices over a constant bass model. Those interested in more depth are also recommended to attend the crash course in thoroughbass given by Dorothee Oberlinger before her concert in the Great Hall!

Supported by

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