Concert 3:
(mis)Attributions

SYDNEY: Wednesday 30 August 2017, 7.30pm
Verbrugghen Hall, Conservatorium of Music

CANBERRA: Friday 1 September 2017, 7.30pm
Albert Hall, Commonwealth Ave

 

“…these concertos were published against my wishes. Some of them are tolerable, some middling, others wretched.” (Unico Willem van Wassenaer, c1755)

It was not until 1980, with the discovery of van Wassenaer’s harsh assessment of his own compositions, that the true author of these fine concertos was identified. Music was often not published during the Baroque period, allowing some pieces to be attributed to the wrong composer. Unscrupulous opportunists added their own names to compositions, or attributed their works to a renowned composer to capitalise on an already famous reputation. Even Bach often copied music by other composers to use in performance and as study material for his students.

Program:
Telemann - Concerto in F major for three violins, TWV 53:F1
Anonymous - O come, O Come Emmanuel
Playford - Faronell's Division on a Ground
Bach - Cantata Meine Seele ruhmt und preist
Prowo - Concerto a 6 in C major
Caccini - Ave Maria
Fasch - Sonata in C Minor, FaWV N:c2
Handel - Aria Ombra mai fù
Wassenaer - Concerto Armonico No. 5 in F minor

Musicians:
Amy Moore, Soprano
Sally Melhuish, Recorder
Hans-Dieter Michatz, Recorder
Matthew Greco, Baroque Violin
Stephen Freeman, Baroque Violin
Anthony Donovan, Baroque Violin
Julia Russoniello, Baroque Violin
Valmai Coggins, Baroque Viola
Tim Blomfield, Baroque Cello
Monika Kornel, Harpsichord

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