Programs

G. F. Händel: Water Music

When George the 1st organized celebration on the Thames, he asked Händel to compose the festive music. There was 50 musician playing on the boat trip, and the king liked so much the performance, as they had to present it three more times for his favor. All instruments of the baroque orchestra were sounded in the piece, except cembalo, because it would have been complicated to take one on the boat.

In our concerts, this famous composition can be heard in trumpet and organ variation.

J. S. Bach: Fugue in E-flat Major „Trinity” BWV. 552

One of the meridians of Bach’s organ art is the Fugue in E-flat Major. Music studies apostrophe as the Trinity Fugue, because the piece is a composition of three individual fugues which represents the ternal unity of the Father-Son-Holy Spirit. The first fugue evokes the majestic calmness of the creating Father. The second theme’s fast pace music material releases Son’s young and fresh energies, which is followed by the Holy Spirit Fugue. Its independent fugue theme visions the flaming fire of the Holy Spirit and quotes the former two themes as well as it is evolving. On the highest peak of the emotionally exacerbated ternal fugue sounds the theme represents the Father’s personality, and its apotheosis closes this special composition.

G. F. Händel: Water Music

When George the 1st organized celebration on the Thames, he asked Händel to compose the festive music. There was 50 musician playing on the boat trip, and the king liked so much the performance, as they had to present it three more times for his favor. All instruments of the baroque orchestra were sounded in the piece, except cembalo, because it would have been complicated to take one on the boat.

In our concerts, this famous composition can be heard in trumpet and organ variation.

Ch. Gounod: Ave Maria – the meeting of two era

Who wouldn’t recognize Gounod’s Ave Maria from the first sounds? The piece originally was composed for singer’s voice and obligato has become world famous classical music hit in numerous adaptations. The circumstances of its creating are less known. It is a result of two big eras and two grand composers fruitful meeting: the softly swaying roulades of the baroque Preludium in C-Major from Bach inspired the romantic opera composer, Ch. Gounod, to dream the soft tunes of Ave Maria. The divining work of the mutual creation is age- and timeless, just like mankind’s veneration towards Virgin Mary.