Von Strandlilien und Dünenrosen | Lilies and Roses
3 voices | recorder | 2 violini | viola da gamba | continuo | ca. 70’
Our most recent programme combines the virtuoso, expressive and colourful instrumental music of early 17th-century Italy with sacred music composed by Christian Geist (c1650 - 1711). Although Geist wrote his music in Copenhagen and Stockholm, he admired and loved the Italian style, which can easily be heard in his beautiful and inventive cantatas. This programme includes pieces by Geist, which have not been performed for the last 300 yeary.
Canzonas and sonatas by Frescobaldi, Cima, Castello | Motets and cantatas by Christian Geist
Die Töchter Jerusalems | The Daughters of Jerusalem
5 voices | 2 violini | 1 viola | 1 viola da gamba | continuo | ca. 60’
The sensuos canticum canticorum inspired many baroque composers to compose some of their most beautiful pieces. This programme features various settings of this remarkable text, which have all been transmitted in the Düben Collection.
Various settings (geistliche Konzerte) of the canticum canticorum by Buxtehude, Büttner, Geist and Hainlein.
International Young Artists Presentation 2018
5 voices | 2 violini | 1 viola | 1 viola da gamba | continuo | ca. 40’
Our programme for the International Young Artists Presentation of the Festival Laus Polyphoniae 2018 contained two beautiful settings of the canticum canticorum, which have probably not been performed since the 17th-century.
Dieterich Buxtehude
Membra Jesu nostri BuxWV 75: Ad pedes
Christian Geist
Adjuro vos, ô filiae Jerusalem
Christian Ritter
Hymenaeus é Canticô Salomonis
Dieterich Buxtehude
Membra Jesu nostri BuxWV 75: Ad latus
Sternenleuchten | Starlight
1 voice | 1 violino | 1 cornetto | 1 dulcian | continuo | ca. 80’
Songs, canzoni, madrigali and rimes with and without voice by Sweelinck, d’India, Merula, Leonarda and other composers.
D. Scarlatti: Stabat mater à 10 voci
10 voices | continuo
Domenico Scarlattis setting of the Stabat mater probably ranks as one of the most ambitious compositions of baroque music. The performance of this piece requires ten singers and allows programme combinations with the grand Italian church music of the 18th-century.