Programs for Orchestra

Terra incognita - Rosetti

Einer der beliebtesten Tonsetzer unserer Zeit!


Diese Einschätzung der Bedeutung Rosettis durch Christian Daniel Schubart hat unter Musikliebhabern wie Musikproduzenten unserer Zeit erneut Aktualität erhalten. So wurde das Werk des Wallersteiner Meisters in den vergangenen Jahren auch weitgehend dem CD Markt erschlossen. Doch gibt es auf der akustischen Landkarte Rosettis noch immer weiße Flecken: jenseits des besetzungsmäßigen Urgesteins - Oboen, Hörner & Streicher – gilt es letztes Neuland in Rosettis Schaffen zu entdecken.


Sinfonie C-Dur Murray A3 (Erstausgabe und Ersteinspielung der CDP)
Konzert für Flöte und Orchester Murray C24 (Erstausgabe und Einspielung der CDP)
Konzert für Horn und Orchester Murray C39 (Ersteinspielung der CDP)

Sinfonie G-Dur Murray A41 (Erstausgabe und Ersteinspielung der CDP)
Sinfonie F-Dur Murray A35 (Erstausgabe und Ersteinspielung der CDP)



From primaeval sound to art music

Signals – from the shrill shriek of fright in prehistoric times to the inaudible electrical impulse of today’s technological world – signals are deeply rooted in the repertoire of our communication.


Signals warn, they protect, they arouse fear. They indicate departure and herald homecomings. They mark the domains of gods and emperors, command humans and animals alike, and they accompany us through life and in death.


Since ages, there is an archaic amplifier for signals: the horn. None of the other instruments is so closely and inseparably connected with signals as is this symbol of great power in the animal kingdom.


In six steps, the concert demonstrates, how signals developed from one single note to a distinctive musical metaphor. Conch shells, Jewish shofars and French hunting horns will take the audience back into an archaic world of sounds from four millennia. In combination with works from the Classical period, they will experience how the sound of the horn found its special place in art music, which allowed Robert Schumann to aptly describe it as the “soul of the orchestra”. The miniature arrangements composed exclusively for this concert further trace the path of the signal in the Romantic period, in film soundtracks and on into the present.


Ensemble: 2 flutes, 4 horns, 2 violins, viola, violoncello, double-bass
Chamber orchestra:  2 flutes 4 horns / strings



Robbed kisses, stolen hearts

Where Cupid’s arrows strike, they leave gods and men powerless – at the mercy of their own passion and of the other’s desire.

Thus Pluto already fell victim to Venus by Cupid’s arrows, and Proserpina despite her laments in turn fell victim to Pluto who carried her off to Hades. Yet the fruits of the underworld were tempting, and had Proserpina not tasted the pomegranate seeds she could have been saved. The story ends with a compromise: For one half of the year Proserpina descends to the underworld to rule it, during which time bleak winter reigns on earth.

Even in ancient mythology, the relationship between the sexes is already characterized by deceit, abduction and violence, but the line separating these from love and devotion does not always seem to be clearly drawn: Rome would probably have been doomed soon after it was founded if Romulus had not cunningly abducted the Sabine women. Still, it was the daughters who later opposed being rescued by their fathers, wishing to remain with their new husbands.


In Robbed kisses, stolen hearts the Compagnia di Punto together with Italian soprano Raffaela Milanesi traces love’s intrigues. Serenades by Joseph Haydn and Antonio Rosetti form a frame around arias from Mozart’s operas in which female characters sing of love’s deceits and desires, joys and woes.


Soprano, 2 flutes, 2 horns, 2 violins, viola, violoncello, double bass

"An intelligent combination of various types of music from entirely different contexts all of a sudden creates a new situation. Such reinterpretations and new perspectives are what a festival programmer is looking for much more than mere repertory or tour programmes which, while usually rehearsed to perfection, all too often offer nothing new."

Richard Lorber, editor of the WDR Early Music section in Zwischentöne.