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The Brașov Philharmonic invites music lovers to the atmosphere of baroque music!
Chamber Orchestra, baroque music, an original organ, over 100 years old, an original harpsichord and an artist that includes them all.
This would be, in short, the presentation of a different concert organized by the Brașov Philharmonic, on Thursday, March 18th, 2021, at 19.00 LIVE / ONLINE, at the Patria Hall, when the artists of the Brașov Philharmonic Chamber Orchestra, under the musical coordination of maestro Nicolae Moldoveanu ( Switzerland), will present an attractive repertoire, in the program there will be works by: A. Corelli - Concerto Grosso no. 1 in D major op. 6, G. Fr. Handel - Concerto for Organ and Orchestra op. 4 no. 1 in minor soil HWV 289, G. Fr. Handel - Concerto for Organ and Orchestra op. 4 no. 4 in F Major HWV 292 and J. S. Bach - Orchestral Suite no. 1 in C major BWV 1066.
The event will be broadcast on the communication channels of the Brașov Philharmonic, Facebook and Youtube, as well as on the social-media channels of the Online Television Iubim Brașov, Știrile Transilvaniei and Radio România Muzical.
It is noteworthy that Thursday's event held by Brasov artists under the coordination of master Nicolae Moldoveanu, will be taken over on the Facebook page of the Swiss Embassy, which contributes to both promoting the event and promoting Swiss-Romanian cultural relations.
Access to the event is free.
A story concert ...
"This time it is a Concert with the Chamber Orchestra, because a less common instrument was chosen. A positive organ, ie a tube organ and is at least 100 years old. It is an original organ and, at the same time, it is for the first time when such a tool is on the stage of the Patria Hall, it all started from the relations of friendship and collaboration that the Romanian artist established in Switzerland (NM) has with the two organ builders, the Swiss Ferdinand Stemmer and Barbara Dutli, they kindly supported this initiative. The two came to our lands and, in Hărman, set up an organ repair and construction company. " (A. G.)
"It is a pleasure for me to introduce this wonderful instrument for the first time. It is like a church organ, but much smaller. As a coincidence, I also come from Elevetia. There I went to school. Knowing the situation from Brașov, I got in touch with the people from Hărman and so, for the first time on stage, we have a positive organ, we also have an original harpsichord, not an electronic one, as usual, I was very interested in the aspect of presenting the baroque repertoire with the right instruments.Also for the orchestra, without the sonority of these instruments it is very difficult to guess and feel the baroque style.The baroque is the longest period in the history of music, over 250 years, even more than classical or romanticism, precisely this sonority of the instruments speeds up the interpretation, so you would not be able to be really influenced so that you can feel the baroque music, the timbre, including stylistically speaking, taking into account the joints, tempo and so on. Through sound images we bring back that atmosphere. It is an absolutely important thing. Romania is part of Eastern Europe and has had a different pace of development, with other influences.
The Netherlands had this tradition of performing baroque music. Basically, in our country, baroque music was represented by Dimitrie Cantemir. He was the one who lived during this period, his music sounded Turkish, we being under oriental influence.
From a practical point of view, the Lutheran Church gave us Bach, who had the opportunity to write organ music in this way.
The organ is not necessarily a religious instrument. Personally, I did not have the opportunity to study the organ in Romania. The organ was used in Saxon communities.
What I want is to highlight the value of the orgy through its artistic and ideological role, choosing a specific repertoire. I've been doing this for 30 years. It would be ridiculous for me to appear as a conductor in a baroque program. To appear as a soloist in the baroque repertoire is absolutely natural. In fact, the conductor is much said, rather a musical coordinator.
You can't approach the baroque repertoire without knowing how to play the instrument ... that's absolutely embarrassing. No baroque ensemble would accept a conductor who does not know the baroque style. It's clear. Study is needed. It's the difference between coordinating an ensemble on harpsichord and my role is to play the continuous, solo, rhythmic part ... and another is to be a soloist. There are two different things, but you have to be in a position to have the necessary education to be able to approach such a repertoire. "- Nicolae Moldoveanu
Artistic landmarks ...
Born in Hunedoara, NICOLAE MOLDOVEANU began studying the violin in Deva, in 1982 becoming a violinist, chorister and assistant conductor at the Altmark Stendal Theater (Germany). In parallel, he studied organ at the Leipzig Conservatory. Four years later, the conductor enrolled in the courses of the Conservatories of Zurich, Basel and Bern, where he enjoyed the guidance of personalities such as: Wilfrid Böttcher, Horst Stein and Antal Doráti. He also attended master classes given by Sergiu Celibidache, Lothar Zagrosek, Colin Metters, Sir Colin Davis, Ilya Musin, Leonard Slatkin and Sir Roger Norrington. After graduating from the Royal Academy of Music in London, he was awarded the "Edwin Samuel Dove" Prize for outstanding artistic merit and the "Ricordi" Prize for conducting. The list of collaborations of the conductor includes famous institutions, such as the Winterthur Philharmonic, Basel, Zurich, Berlin, Dresden, Munich, Royal Liverpool Philharmonic, BBC Philharmonic, BBC Concert, Manchester Camerata, Dutch Radio Orchestra, Stockholm Chamber Orchestra, Johannesburg National Symphony Orchestra, London Mozart Players Orchestra, Melbourne Symphony Orchestra, Copenhagen Radio Orchestra, Oslo Radio Orchestra, Toronto Opera, Welsh Opera or Covent Garden. He has recorded in England, Germany and South Africa for BBC Radio 3, Bavarian Broadcasting and South Africa Broadcasting Corporation. In 1994 he was appointed "Arts Council Young Conductor" to the orchestras of Bournemouth where, in 1996, he was offered the position of resident conductor. In 1998 he was appointed principal conductor of the English Sinfonia. From 2002 to 2008, he was an associate guest conductor of the London Mozart Players ensemble, and from September 2008, Nicolae Moldoveanu was the conductor of the "Transylvania" State Philharmonic Orchestra in Cluj-Napoca.
Translated by Alma Teodora Miron,
University of Bucharest, Faculty of Foreign Languages and Literatures, MTTLC, year I
Corrected by Silvia Petrescu