Dutch Baroque Orchestra & Oscar Verhaar / Gerard de Wit
From Fairy Queen to Vergnügte Ruh: Purcell, Händel, Bach
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Recorded live at the Kerk van de Evangelische Broedergemeente Zeist, 20 April 2021
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About this concert
With a repertoire of three grandmasters, the Dutch Baroque Orchestra and countertenor Oscar Verhaar are sure to deliver a Baroque bombshell. On the programme: compelling music by Englishman Henry Purcell, Thomaskantor Johann Sebastian Bach and the world’s first music mogul, Georg Friedrich Händel. His organ concerto and the unforgettable aria Ombra mai fu form the scrumptious filling between the gripping Vergnügte Ruh and the enchanting Fairy Queen.
Programme
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Henry Purcell
Overture: Symphony while the swans come forward
Prelude
Hornpipe
Rondeau
Dance for the fairies
One charming night
Entry dance
Chaconne: Dance for Chinese man and woman
(from: The Fairy Queen, Z.629)1659-1695 -
Georg Friedrich Händel
Ombra mai fu
(from: Serse, HWV 40)Concerto for organ & orchestra in G minor, HWV 289
Larghetto, e staccato
Allegro
Adagio
Andante1685-1759 -
Johann Sebastian Bach
Cantata: Vergnügte Ruh, beliebte Seelenlust, BWV 170
Aria: Vergnügte Ruh, beliebte Seelenlust
Recitative: Die Welt, das Sündenhaus
Aria: Wie jammern mich doch die verkehrten Herzen
Recitative: Wer sollte sich demnach wohl hier zu leben wünschen
Aria: Mir ekelt mehr zu leben1685-1750
Musicians
- Oscar Verhaar contratenor
- Johanneke de Wit flute, registrant
- Robert de Bree, Daniel Lanthier oboe
- Ivan Iliev, Noyuri Hazama violin
- John Ma viola
- Anne Linde Visser cello
- Alon Portal double bass
- Luke Alexander bassoon
- Edoardo Valorz organ
- Gerard de Wit harpsichord, organ and musical direction
About the performers
At the heart of the Dutch Baroque Orchestra is a permanent core of young musicians who focus on music from the seventeenth and eighteenth centuries. The orchestra is expanded with musicians who have just left the conservatory and are starting their music career. The orchestra’s main goal is to perform well-known and lesser-known repertoire, whereby paying attention to historically informed performance practice in the broadest possible sense.