Forum Musicum
Wonderful Arundo Donax
8:00 PM
Evangelical-Augsburg Church of Divine Providence

J.-B. Anet Musette, La champêtre and Le coucou from Deuxième oeuvre contenant Deux Suittes de Pièces pour la Flûte Traversière, Haubois, Violons, Vielle (Paris 1726)
E.Ph. Chédeville (l’Aine) Sixième suite from Deuxième receuil de Vaudevilles, Menuets, Contredances et autres Airs choisis pour les Musettes, avec la Basse, qui conviennent aux Vielles, Flûtes et Hautbois (Paris 1731–1742)
(performed by M. Maggiori)
 P. Prowo Concerto No. 1 in F major 
(performed by Oboeband Poznań)
 N. Chédeville Les singes verts, La galerie des chevreuils, La table du roi from Les Impromptus de Fontainebleau, pièces en deux Parties et par accord les Musettes, Vielles, Flûte traversières et Violons, Pardessus de Viole op. 12 (Paris 1750)  
(performed by M. Maggiori)
J.S. Bach Die Kunst der Fuge BWV 1080: Contrapunctus I   
J.Ch. Schieferdecker Musicalisches Concerto No. 11 
(performed by Oboeband Poznań)

J.B. de Boismortier Prélude, Passepied, Rondeau, Menuet 1 et 2, Tambourin and Air gai from Divertissements de Campagne pour une Musette, Vielles avec la Basse, aussi pour Violon, Hautbois, Flûte à Bec et Traversière op. 49 (Paris 1734)
N. Chédeville La retour de Prague from Les Deffis ou l’etude amusante op. 9 (Paris)
(performed by M. Maggiori)
J.-B. Lully Ouverture, Sarabande, Bourrée, Gaillarde, Chaconne des Scaramouches from Le bourgeois gentilhomme  LWV 43  
(performed by M. Maggiori and Oboeband Poznań)


Markus Maggiori – musette de cour

Oboeband Poznań:  
Marek Niewiedział – artistic direction and oboe
Franciszek Bielak, Maria Plucińska, Hanna Piasna – oboes
Beniamin Lewi, Maciej Snarski, Agnieszka Siemiankowska, Gabriel Mucha – bassoons

Evangelical-Augsburg Church of Divine Providence
ul. Kazimierza Wielkiego 29, Wrocław
from 35 to 45 zł

The most important and sensitive parts of the wind instruments that will sound during the concert, are made of arundo donax – plants known in English as giant reeds. These reeds give wind players sleepless nights because the journey from a reed growing on the riverbank to a high-quality product is long. As with any natural material, reeds are affected by changes in temperature and humidity, so the reed is capricious. However, when you manage to master it, the instrument will sound wonderful.

One of the instruments in the line-up of tonight’s concert is the musette de cour, i.e. small Baroque bagpipes created in France at the end of the 16th century. The term "de cour" links this instrument with the aristocratic milieu in which the fashion for an Arcadian-style rural idyll appeared in the 17th century. The fun and games organized at that time, during which courtiers and ladies played the roles of shepherds and shepherdesses, and the music was played on the hurdy-gurdy, recorders and, of course, the musette de cour, were quickly reflected in the idyllic scenes of ballet and opera works. In the second half of the 17th century, the court of Louis XIV was a point of reference and a role model for the rest of Europe at that time, and a visit to Versailles was an indispensable part of the cultural education of every German aristocrat. The French style was also admired in music. Jean-Baptiste Lully, the composer of le Roi Soleil, saw this as a great opportunity to promote his own work, as the musicians performed during various events, such as parades, receptions of foreign dignitaries, peace proclamations, royal baptism processions, weddings, funerals, tournaments and carousels (equestrian ballets), water festivities, and hunting.

Together with Markus Maggiori, the Poznań Oboeband will perform – an oboe-bassoon consort bringing together lecturers, undergraduates and graduates of the Department of Historical Performance Practice at the Ignacy Jan Paderewski Academy of Music in Poznań. They owe the unique sound of their interpretations to playing original period instruments or their exact copies. The core of the artists’ repertoire are works of French music, sometimes unknown to the general public, although they are equally eager to reach for the wonderful achievements of German, English and Italian Baroque composers. The ensemble refers to the performance practice of a given region, style and era, and is guided by the idea of restoring and presenting the rich 17th- and 18th-century traditions of formations active at the French court.

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