Arte dei Suonatori / fot. Modelina Magdalena Kaźmierczak
Arte dei Suonatori / fot. Karolina Sałajczyk
Wratislavia Cantans
The Times of the Day – Głogów
7:00 PM
Głogów, Collegiate Church of the Assumption of Virgin Mary

Georg Philipp Telemann
Concerto in D major for trumpet TWV 51:D7: Adagio
Die Tageszeiten TWV 20:39: Der Morgen – cantata
Fantasia No. 2 in D major for viola da gamba TWV 40:27: Vivace
Ouverture-Suite in D major for viola da gamba, strings and basso continuo TWV 55:D6: Sarabande
Die Tageszeiten TWV 20:39: Der Mittag  – cantata
Concerto in A minor for two transverse flutes, strings and basso continuo TWV 53:a1: Lentement, (Vivement), Loure, (Vivement)
Die Tageszeiten TWV 20:39: Der Abend – cantata
Sonata in F minor for bassoon and basso continuo TWV 41:f1: Triste, Allegro
Die Tageszeiten TWV 20:39: Die Nacht – cantata


Marcin Świątkiewicz – conductor, harpsichord, chest organ
Anita Giovana Rosati – soprano
Nora Steuerwald – mezzo-soprano
Karol Kozłowski – tenor
Matthias Lutze – bass-baritone
Justin Bland – trumpet
Julia Karpeta – viola da gamba
Antoine Pecqueur – bassoon
Marcello Gatti, Marta Gawlas – transverse flutes
Arte dei Suonatori

95 min
Głogów, Collegiate Church of the Assumption of Virgin Mary
plac Kolegiacki 10, 67-200 Głogów

Georg Philipp Teleman is not as recognizable a Baroque composer as Johann Sebastian Bach or Antonio Vivaldi. He left an extensive oeuvre, though, including works of outstanding artistic quality. Some of them will be presented at the Wratislavia Cantans festival by excellent performers – the Arte dei Suonatori ensemble and soloists. The leitmotif of the concert is time, represented by a series of four short cantatas entitled Die Tageszeiten. However, they are not about human, linear time, but nature’s time – cyclical, representing the eternity and divinity of nature in comparison with human finitude.

Die Tageszeiten was performed for the first time in 1757 in Hamburg. In this work, the composer used the poetry of Justus Friedrich Wilhelm Zachariae. The piece is structured in an intriguing way. The first cantata, Der Morgen, opens with an orchestral introduction, Sinfonia, and then each time of the day has an analogous structure: the first aria describes the feelings associated with a given time, in the recitative the soloist presents a specific natural phenomenon, the second aria serves to affirm the creator responsible for the experienced beauty, and each the cantatas is crowned with a short hymn of praise sung by the choir. The times of the day are represented by various solo voices and accompanying instruments. In the Morning we will hear a soprano and a trumpet, in the Noon an alto and a viola da gamba, in the Evening a tenor and two flutes, and in the Night a bass, two oboes and a bassoon. The solo instruments used in the work also appear in excerpts from other compositions.

In the first part of the concert, the lyrical Adagio from the Concerto in D major for trumpet will be performed, as well as fragments of two pieces in which the viola da gamba is key to the musical narrative. These will be the dynamic Vivace from the Second Fantasy in D major, intended for this solo instrument, and the dignified Sarabande, which is the third movement of the D major Suite. The second part of the concert will consist of the four-movement Concerto in A minor for two flutes, bassoon and strings, as well as two movements from the Sonata in F minor for bassoon - the thoughtful Triste and the joyful Allegro.

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